Fasil Muhammed’s debut feature film, Feminist Fathima (Feminichi Fathima), is a deeply compassionate drama about a Muslim housewife in rural Kerala. When the protagonist, Shamla Hamza, needs a new mattress, she stirs the hornet’s nest and creates conflict within her seemingly peaceful household. The 2024 film portrays the most ordinary aspects of life and explores issues such as gender equality and female agency in a conservative setting where men have traditionally dominated the lives of women. Sensitivity is the film’s hallmark, and it effortlessly permeates the screenplay, as the protagonist conveys the unsaid through her expressive eyes and communicates her struggles through a nuanced performance.   

Feminist Fathima had its world premiere at the 2024 International Film Festival of Kerala and won a record five awards. In this interview, Muhammed talks about the use of satire in the film, his perception of feminism and the film’s coastal village setting.

Feminist Fathima Interview: Related — An Interview with ‘Appuram’ Filmmaker Indu Lakshmi

Dipankar Sarkar: Could you describe your journey into filmmaking and the formative experiences that shaped you?

Fasil Muhammed: During my childhood, I wrote many short stories and poems. I made my first short film in 10th grade and my second during my undergraduate studies. After graduating, I joined the Malayalam film industry as a spot editor and worked on more than 15 films. I then shot a short film called Qabar in 2022, which won many awards and received positive technical feedback. Following that, I shot a web series called Tuition Veedu, which was released on YouTube and became a big hit, with each episode garnering millions of views. This success gave me the confidence to make an independent film. I then shot Feminist Fathima, my debut feature film, which I also wrote, directed, edited and co-produced.

Feminist Fathima Interview: Related — An Interview with ‘Roopanthara’ Filmmaker Mithilesh Edavalath

DS: What inspired you to weave a narrative around the seemingly mundane act of replacing a worn-out mattress? 

FM: I often visited my sister and her family in Ponnani, Kerala. One early morning, I woke up to hear her scolding her son for wetting the bed. Frustrated, she exclaimed that she had been so careful to keep the urine off the bed, because the smell just wouldn’t go away. My sister’s frustration sparked an idea. I started thinking about all the chaos that would follow if she tried to take the bed outside to dry. These thoughts gradually evolved into the concept for a film.

Feminist Fathima Interview: Related — An Interview with ‘Body’ Filmmaker Abhijit Mazumdar

DS: Feminist Fathima tackles social issues like women’s rights and their discrimination, and the anxieties they generate. Given the gravity of these concerns, why did you choose satire as the primary vehicle for your critique?

FM: Satire is an effective tool to engage audiences across different backgrounds. It allows me to address serious social issues in a way that is accessible and thought-provoking rather than overwhelming. I didn’t want the film to be a slow, preachy drama that people might find heavy or difficult to sit through. Instead, I wanted to blend humor with sharp social commentary, ensuring the message reaches a broader audience while keeping them entertained.

Feminist Fathima Interview: Related — An Interview with ‘Second Chance’ Filmmaker Subhadra Mahajan

DS: What significance did the coastal region of Ponnani hold for you in selecting it as the backdrop for Feminist Fathima’s narrative?

FM: Although the story is set in Ponnani, its theme is universal, allowing audiences from diverse backgrounds to connect with it. As Ponnani is my hometown, I have a deep understanding of its culture and nuances. The film’s cast of local actors makes the performances feel natural and authentic. Filming in this familiar environment also helped me capture the region’s essence more effectively on screen.

Feminist Fathima Interview: Related — An Interview with ‘Poem of the Wind’ Filmmaker Ramakaushalyan Ramakrishnan

DS: There is a moment in Feminist Fathima where Ashraf goes to a mobile shop and discovers a phone’s box is an equally costly item. How does this seemingly humorous episode connect to the larger concerns of the theme?

FM: The scene conveys a profound sociopolitical message, shedding light on the dynamics of gender inequality within relationships. It highlights the husband’s mindset, where he prioritizes himself when it comes to new or high-quality products. Meanwhile, he deems it acceptable for his wife to use second-hand or pre-owned items. This is subtle depiction that reflects a broader commentary on patriarchal attitudes and societal norms that perpetuate unequal treatment between genders, even within the confines of intimate relationships. Through this scene, the narrative challenges viewers to question these ingrained biases and advocate for fairness and respect in all aspects of shared lives.

Feminist Fathima Interview: Related — An Interview with ‘Ullozhukku’ Filmmaker Christo Tomy

DS: Through the protagonist’s journey of independence, did you try to reflect contemporary society’s changing economic realities and social dynamics? 

FM: Absolutely. Women, especially in the Muslim community, are becoming more financially independent, which is crucial for their personal and familial growth. However, society often labels such women with terms like “Feminichi,” a sarcastic remark meant to mock their independent thinking. This discourages many from embracing self-reliance, fearing social backlash. The film highlights this struggle and encourages a shift in perspective — progressive women should be supported, not mocked. A society that uplifts independent women ultimately becomes stronger and more self-sufficient.

Feminist Fathima Interview: Related — An Interview with ‘In the Name of Fire’ Filmmaker Abhilash Sharma

DS: How did you guide Shamla Hamza and Kumar Sunil in their preparation for portraying the role of a married couple?

FM: Both Shamla Hamza and Kumar Sunil are from the Ponnani region, so they naturally understood the lifestyle and culture. Their familiarity with the environment helped them connect with their characters effortlessly. Knowing their potential, I had no doubt they were right for the roles. Therefore, there was no need for extensive grooming sessions or workshops. I gave them all the necessary direction on a daily basis, just before each scene. We shot the entire film in sequence, which helped them develop their characters along with the story. I also made them feel comfortable so they never felt self-conscious about acting in front of the camera. As a result, they performed naturally, exactly as I envisioned. 

Feminist Fathima Interview: Related — An Interview with ‘Manjummel Boys’ Filmmaker Chidambaram

DS: There is a striking restraint in the framing and composition of the scenes. How did you and your cinematographer decide on the visual style of the film?

FM: I primarily focused on the actors’ performances. We framed the shots to maximize their impact and capture the full range of emotions for each character. Prince, the cinematographer, is a close friend. We worked together on my first short film and then the entire Tuition Veedu series, so we have a great working relationship. He understands my filmmaking style, which eliminated any potential confusion. We didn’t need extensive discussions during the shoot; we had planned only a few major shots in advance.

Feminist Fathima Interview: Related — An Interview with ‘In Retreat’ Filmmaker Maisam Ali

DS: As both the director and editor of Feminist Fathima, how did you balance the creative and technical demands of these intertwined roles?

FM: As an editor who started my career as a spot editor in the film industry, I find it easy to incorporate my editing skills and knowledge into my storytelling. Since I also wrote the film, each scene was conceived from an editorial perspective, which was extremely helpful during the shoot. Every day after shooting, I edited the scenes we had shot that day.

Feminist Fathima Interview: Related — An Interview with ‘Katu Pootha Malay’ Filmmaker P.J. Udayraj

DS: Securing a theatrical release is often the most daunting challenge for independent filmmakers. Given that Feminist Fathima won five awards at IFFK, including the Audience Poll Award, will this success significantly help in securing a theatrical release?

FM: Yes, definitely. Feminist Fathima is not what people typically call an “award-winning film.” It also has strong commercial potential. Audiences can easily connect with the characters. The audience response at IFFK shows a strong demand for a theatrical release, which is a positive sign for an independent film.

Dipankar Sarkar (@Dipankar_Tezpur) is a graduate in film editing from the Film and Television Institute of India and currently based in Mumbai. As a freelancer, he frequently contributes to various Indian publications on cinema-related topics.

Feminist Fathima Interview: Related — An Interview with ‘IC 814: The Kandahar Hijack’ Co-Writer Trishant Srivastava