Fasil Muhammad’s debut film in Malayalam, Feminichi Fathima (Feminist Fathima, 2024), adroitly blends low-key drama with bursts of heartwarming humour, while crafting a narrative about a homemaker finding her voice in a Malayali Muslim household shackled by patriarchy. While the story may tread familiar ground with its portrayal of a woman navigating societal constraints, Muhammad’s distinctive vision breathes new life into the screenplay, resulting in a captivating and rewarding film that won multiple awards at the International Film Festival of Kerala last year. The film has also received a special jury mention in the Asian Competition Section of the recently concluded Bengaluru International Film Festival.
Feminichi Fathima is set in a village located in the coastal town of Ponnani, Kerala. Fathima (Shamla Hamza), a mother of three, lives with her husband, Ashraf (Kumar Sunil), and mother-in-law (Pushpa) in a small house. The film’s inciting incident occurs when Fathima’s elder son urinates on the mattress the previous night. Left outside to dry in the sun, a stray dog also urinates on the mattress. Ashraf forbids Fathima from bringing the mattress back into the house. She reluctantly gives it to a scrap collector. A neighbor offers her a used mattress, but Ashraf again refuses to accept it, believing it to be imbued with the spirits of those who died while sleeping on it. Fathima, suffering from back pain and desperately needing a mattress to sleep on, finds herself in a difficult situation. How she overcomes this obstacle forms the core of the film.
Feminichi Fathima effectively captures the dynamics of a family where the man holds all the power, turning the protagonist’s journey of self-discovery into an enriching engagement with the human condition. The film is filled with moments grounded in reality, where ordinary objects and everyday situations – Fathima preparing meals for her family, mopping the floor, quietly finishing her meal in a corner – are rendered with palpable realism. These seemingly mundane moments offer acute insights into her position within the household: an obedient and submissive wife and daughter-in-law. Her constant struggle to obtain a decent mattress becomes crucial in highlighting the subtle power dynamics within the family. When Fathima asserts her agency by initiating her chit fund to purchase a mattress, it’s an act of quiet, yet resolute rebellion. The film eschews melodramatic scenes and heavy-handed dialogue, making Fathima’s rising self-will delicate and nuanced. Instead of overt confrontation, she selectively asserts her independence. Like refusing to switch on the ceiling fan for her husband, a seemingly insignificant act that carries significant weight within the domestic sphere.
While set within a Muslim household, Feminichi Fathima avoids any defiling of religious sentiments or Islamophobic overtones. The film avoids the politics of hatred, recognizing that even women with modern outlooks, such as a young blogger or a female architect, choose to wear the hijab. The narrative subtly suggests that one can maintain their religious identity without adhering to regressive ideas. Fathima’s mother-in-law, who has given birth to ten children, also expects Fathima to follow the same path, highlighting the cyclical nature of these societal expectations. Thus, the film offers a nuanced commentary on the complexities of tradition, gender roles, and personal agency within a conservative community.
Fathima resides in a close-knit neighborhood where houses are built near one another. This community fosters a strong sense of support, where neighbors readily assist each other. Within this supportive environment, her desire to earn a livelihood emerges organically as she observes the entrepreneurial spirit of other women around her. The introduction of a smartphone, enabling online transactions, empowers her to claim her economic independence. Such grounding elevates the film above what could otherwise have been a predictable and overly sentimental examination of patriarchy and clashing cultures.
Ashraf, though seemingly the antagonist, is never vilified. He is a man constrained by conservative Muslim traditions, which dictate that women should not raise their voices against their husbands. Any woman who challenges his authority is labelled a ‘feminist’. As a medic who practices traditional medicine, he holds the final say in all family matters. This lack of challenge has undoubtedly shaped his personality. Interestingly, when he finally observes the change in his wife, Ashraf doesn’t become a villainous figure. Instead, he silently accepts his fate.
Shamla Hamza delivers a captivating performance as the titular character. As a housewife, who gradually transitions from resigned acceptance to a woman who reclaims her worth within the household, Hamza brings a nuanced layer to her character, with a simmering rage that never erupts into overt aggression. Kumar Sunil, as Ashraf, delivers a performance devoid of any over-the-top theatrics. His portrayal of the arrogant and commanding husband is so compelling that we almost feel a tinge of sympathy for him, rather than outright anger. The rest of the supporting cast also contributes significantly to the film’s overall understated and realistic approach.
Muhammad, who has skillfully written and edited the film, allows the scenes to seamlessly flow within a compelling narrative, depicting the events that stir the protagonist’s life with an ample dose of humour. Prince Francis’s cinematography is minimalist yet impactful. His framing artfully captures the protagonist within the stifling ambience without ever letting her fade into the background. Sachin Jose’s sound design beautifully evokes the rustic flavour of the village. The background score by Kabeer is never loud, delicately weaving itself into the narrative, heightening the film’s emotional impact.
Feminichi Fathima is a gentle piece of storytelling, drawing viewers into the journey of a simple woman with a simple objective. Transcending a mere depiction of domestic strife, the film powerfully becomes a humane exploration of resilience, the quiet acts of rebellion, and the enduring power of hope within the confines of seemingly traditional constraints.
Malayalam, Drama, Color