A ROLLICKING REBELLION THAT WAKES UP TO CHANGE

Selected for the International Competition section at the 29th IFFK, Feminichi Fathima is a sharp, satirical journey of one woman's quiet resistance, navigating the path to self-reliance and breaking free from tradition

- VIVEK SANTHOSH

Who knew a mattress could spark a revolution? Premiered at the International Competition section at the 29th International Film Festival of Kerala (IFFK), Fasil Muhammed's directorial debut Feminichi Fathima (Feminist Fathima) takes the mundane and turns it into a masterful satire. A woman's quiet rebellion against a controlling husband and stifling traditions becomes a hilarious and deeply moving battle for financial independence. Set in the coastal town of Ponnani, the film transforms a seemingly small incident into a richly layered narrative examining autonomy and conditioning. It is a film that mocks the absurdity of conservatism while embracing the complexity of the human experience, all wrapped in a rollicking comedy.

At its heart lies Fathima (Shamla Hamza), a housewife navigating life under the thumb of her conservative husband, Ashraf (Kumar Sunil). An Usthad by profession, he is highly respected in his community, yet his backward views on marital life and gender roles are laughable when set against Fathima's growing realisation of her own agency. What begins as Fathima's small attempt to replace a mattress—a practical necessity—evolves into a deeply personal battle against his authority.

The film's writing shines through in its subtlety; the way Fathima's resilience is gradually woven into the narrative is handled organically, allowing her growth to feel earned rather than contrived.

No dramatic speeches or grand gestures—just a quiet, steady march towards reclaiming her autonomy. The satire here is deftly layered, as the protagonist's small acts of rebellion—a simple purchase, a quiet decision—challenge the very fabric of her repressive environment. One of the most striking elements of Shamla's performance is how she conveys Fathima's internal conflict.