FRED Film Radio - English Channel

Director Mareike Engelhardt debuts in competition at Alice nella Città with her bold first feature film “Rabia”. The film delves into the disturbing phenomenon of radicalization, confronting the difficult questions surrounding political extremism, manipulation, and gender-based violence.

At the heart of “Rabia”is the story of a young woman who leaves her home to join the jihad in Syria, only to find herself imprisoned in a women’s house.

The film is based on real-life events during a significant period of global conflict. Between 2014 and 2017, thousands of young people left their homes to join jihadist groups, and a third of them were women. Engelhardt recalls her astonishment upon learning this: “They were between 14 and 20 years old… that in itself for me was unbelievable.”

Researching such a controversial and sensitive topic might seem daunting, but Mareike Engelhardt found the process surprisingly straightforward. She attributes much of her success to the willingness of the women who returned from Syria to share their stories. “I needed to get in touch with women… they were surprisingly happy to talk to me. So there was a real need of sharing their story,” Engelhardt recounts. The film is constructed from these real-life stories, with nothing in “Rabia” being invented. Additionally, Engelhardt worked closely with journalists who had extensive knowledge of these women, which added further depth and authenticity to the narrative.

At the centre of Rabia is the character of Madame, portrayed by Lubna Azabal. Madame is a complex and terrifying figure, both charismatic and chilling. Engelhardt and Azabal shared a deep interest in exploring such figures’ dark, manipulative personalities. “We share a very deep interest in those kinds of dark characters, those leader characters, which are very intelligent and just as horrible,” Mareike Engelhardt reflects.

The character of Madame is based on a real Moroccan woman who orchestrated the system of female domination in Syria, and Azabal had followed this woman’s story for years.

The film also features a profound character arc in Jessica, a young woman whose transformation from a naive victim to a brutal torturer lies at the heart of “Rabia”. Played by Megan Northam, Jessica’s journey symbolizes the insidious power of psychological manipulation.

“Why would they go? What are their motivations?” Engelhardt and Northam spent significant time analyzing the psyche of these women, understanding how individuals can be radicalized not through grand political ideas but through intimate relationships and psychological manipulation.

“Rabia” has its international premiere at Alice nella Città, a festival known for its young audience. Mareike Engelhardt hopes her film will resonate with them, encouraging vigilance in the face of extremism. “It’s today more important than ever for young people to realize what it is to be manipulated and radicalized… be it the extreme right-wing or radicalized Islam… binary totalitarian thinking is a constant threat in the world we live in,” she asserts.

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“Milano“, directed by Christina Vandekerckhove and starring Matteo Simoni, is in competition at Alice nella Città. The film explores the intricate relationship between a father and his deaf son, tackling themes of resilience, communication, and unconditional love.

“Milano“ centres on Alain (played by Matteo Simoni), a father raising his deaf son, Milano, alone. The film’s core is the complex dynamic between them, further challenged when Milano’s biological mother reappears. Christina Vandekerckhove described the film as “a story about resilience, but also about the loyalty of the child towards both parents.” She was inspired by real-life conversations with parents while researching a documentary on social housing. “I met a father who hadn’t seen his son in years. His helplessness and struggle stayed with me,” she shared.

Matteo Simoni took on the challenge of playing Alain, a man haunted by his limitations and past trauma. “Alain deeply wants to give his son a better life, but struggles with his own limitations,” Simoni reflected. Preparing for such a complex role involved meticulous rehearsals and discussions. “We talked a lot about who Alain is, his background, and rehearsed extensively on location. It allowed us to work in a very precise and organic way,” Simoni explained. The actor also emphasized how working with Basil Wheatley, the deaf actor playing Milano, added layer of complexity: “You can’t just improvise. We had to stick to the script because Basil had to know the scene by heart.”

A recurring element in “Milano“ is the wind, which serves as a metaphorical layer representing the emotional turbulence within the characters. Vandekerckhove sees the wind as a way to express Milano’s unspoken emotions. “For me, the wind and rain are an extra layer that conveys Milano’s feelings without using words or sound. It’s important to me that the audience can feel the wind and the rain as part of the emotional landscape,” she explained.

Matteo Simoni appreciated this choice, adding that “it makes the film slightly bigger than life, yet still deeply rooted in reality.” The wind becomes a poetic device, highlighting the unspoken struggles between Alain and his son.

At its heart, “Milano” is a story of parenthood, resilience, and the responsibility we bear as parents. Vandekerckhove hopes audiences will be moved by Alain and Milano’s journey. “It’s a universal story. I hope people recognize themselves in these characters and are touched by their struggles,” she said. Simoni also reflected on the film’s message about raising children with love and patience: “One day, they will rule the world. It’s our task to raise them with care, to listen to what they need.”

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