Starring Jacir Eid Al-Hwietat. In English and Arabic, with English subtitles. Rating unavailable.

In a reverse riff on Lawrence of Arabia, the low-key Theeb sketches in a First World War tale as experienced by a boy of that name—“wolf”, in Arabic. This cub (Jacir Eid Al-Hwietat) is the youngest of three recently orphaned brothers. The film’s most appealing scenes show Theeb, a tousle-haired boy of about 12, being instructed in ways of the desert by his handsome middle brother (Hussein Salameh Al-Sweilhiyeen). But those ways are quickly changing, as evidenced by the arrival, in 1916, of a British army officer (Jack Fox) reminiscent of a certain figure played by Peter O’Toole.

Writer-director Naji Abu Nowar, the British-born son of a Jordanian army general, returned to his father’s homeland to enlist a number of remaining Bedouin (all male) to participate in his first feature. The movie doesn’t tell you much about the expanding conflict, which has Britain helping Arabian tribes sabotage their Ottoman rulers, led by the Turks, allied with Germany. But Theeb knows nothing of this; he’s more intrigued by the upright foreigner’s blond hair and beard, and that mysterious, Lawrencian box he’s carrying. (Hint: it has something to do with the railroad—or, as one character resentfully dubs it, the Iron Donkey Trail.)

Bedouin courtesy means they must assist the officer in reaching a distant well, where he’s supposed to meet more soldiers, or something. The middle brother is tasked with guiding the Brit through spooky canyons (recalling John Ford’s Monument Valley for western-movie lovers), despite warning that “that road has more bandits than pilgrims these days.” Theeb tags along, leading to events that, after a slow start, keep shifting like the proverbial you-know-what.

Eventually, the boy encounters a darkly threatening stranger (Hassan Mutlag Al-Maraiyeh) who explains some of what is happening in the larger world. Overamped sound effects and a slightly pompous musical score occasionally step on the movie’s determined naturalism. But there’s no doubt that this is a potent and timely film debut for all involved.