Edward Said’s analysis of Orientalism reveals how Western depictions of the Orient in art, literature, and scholarship have been linked to colonial politics. They have defined a view of the Orient as backward and underdeveloped which has consequently justified its subjection to colonial rule. However, Said’s analysis fails to recognize how indigenous voices perpetuate the Orientalist discourse in Neo-orientalist ways. Building on Said’s work, we aim to explain how native informants, to whom audiences grant a high degree of authenticity, have replaced classical Orientalists in reproducing Western stereotypes. Through discourse analysis, we challenge the implicit authority embedded in a mass culture production (non-fiction documentary) of Muslim women produced for Western audiences after the events of 9/11. Our research focuses on the documentary, Honor Diaries, winner of the 2013 St. Louis International Film Festival’s Interfaith Award for Best Documentary. Ayaan Hirsi Ali, one of the executive producers serves as a central figure in our analysis as a native informant. Her activism and criticism of Islam and Middle Eastern societies has placed her among Time magazine’s 100 Most Influential Persons. We analyze the Honor Diaries with three analytical criteria. First, we investigate the film’s tendency to attribute oppression to Islamic religion and culture. Next, we look at the role of the female subject; what she does, what she says, and her positionality in the film’s context. Finally, we analyze the political project behind the film which advocates a ‘universal’ call for the emancipation of Muslim women from their repressive societies. Ultimately, we contend that the native informants’ in Honor Diaries serve to propagate classic Orientalist (mis)perceptions of the East hidden behind humanitarian and Western liberal feminist rhetoric.