Feminist Fathima movie review: A powerful film portraying challenges and resilience of stay-at-home wives, mothers

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In the very first scene itself, Fasil manages to skillfully provide a comprehensive portrayal of the locality and its residents, particularly the characters of Fathima and her husband Ashraf (Kumar Sunil), the Ustadh at the local mosque. Ashraf is the go-to person for the neighbours on various matters, including health issues. Like many others, Fathima too believes — or perhaps unquestioningly follows — the idea that her husband and his ruqyah possess powers beyond those of medical professionals.

In the locality, the houses are closely packed, reflecting the residents’ modest economic status. This proximity also mirrors the tightly knit nature of the community, where everyone is aware of each other’s lives. Regardless, they still often indulge in prying into the personal matters of others to satisfy their curiosity.

The movie presents Ashraf as the epitome of male privilege and this is further bolstered by his position as the revered Ustadh. His authority is evident in how Fathima is constantly at his beck and call, whether it’s fetching his chappals and shawl or managing all the manual labour. Her name echoes through the house numerous times a day and the situation is made worse by her conformist mother-in-law (Pushpa), who seizes every opportunity to add fuel to the fire between Fathima and Ashraf.

 

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At the same time, Fasil cleverly uses seemingly ordinary moments and interactions to highlight the deep-rooted misogyny in the household and these same moments are repeatedly used to depict a gradual shift in the dynamics. One recurring image is that of Ashraf lying on his bed (yes, he and Fathima do not share the bed regularly and even when they do, it is solely for sex) and calling out for Fathima to switch on the fan all the time, despite the switch being within arm’s reach.

From the outset, Fathima is shown as the one handling all the unpleasant and strenuous tasks in the household. While her mother-in-law assists with chores, she avoids anything remotely dirty. However, despite Fathima’s relentless efforts, both Ashraf and his mother treat her with little respect and are quick to criticise everything she does. For instance, when Fathima takes the mattress outside to dry the first time after their son peed on it, Ashraf instructs her to write a holy verse in Arabic and place it on a stick nearby to deter dogs and other animals. Although she follows his advice, a stray dog still urinates on the mattress. Instead of acknowledging the ineffectiveness of his suggestion, Ashraf berates her for not being more careful, conveniently ignoring his own flawed guidance.

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While the film humorously critiques superstitions, it also exposes how religious figures manipulate rules to suit their convenience. In one scene, Ashraf reprimands his daughter for creating an Instagram account on her mother’s phone. When she questions his own use of Facebook, he justifies it by claiming that Facebook is ‘Ilm (knowledge or righteousness) while Instagram is Dhulm (wrongdoing), without offering any logical reasoning for this distinction.

Even as the title is undeniably a major spoiler, revealing from the outset that Fathima will evolve into a feminist and assert her rights, rendering the climax predictable, Fasil takes his time unravelling this journey, moving carefully and deliberately without skipping over details or leaving questions unanswered, thus ensuring that the journey is engaging.

As the scrap collector takes the mattress away, we see Fathima standing motionless, watching the vehicle, realising that the only source of comfort she had in life was gone forever.

The transformation begins subtly, from the very first night when Fathima is forced to sleep uncomfortably on a bare bed frame without a mattress. Despite being a mother of three and still enduring back pain from her most recent delivery, Ashraf coldly declares that he cannot afford to buy her a new mattress. Meanwhile, Fathima’s efforts to replace it ignite conflict, as Ashraf blocks her at every turn — even while she tries purchasing a second-hand one. As soon as she begins raising questions and presenting logical arguments, Ashraf feels his authority threatened and shouts at her that a household where women have control is no better than a pigsty. He demands that she obey him, reminding her that she’s incomeless and, therefore, has a lack of choice. Fathima eventually realises that she must become self-sufficient and prioritise her own needs, as no one else does. Determined to change her circumstances, she takes her first steps toward earning money.

At a pivotal moment, Fasil upends the dynamic entirely, showcasing the limitless potential of women once they step out from under patriarchal control and Fathima wastes no time in starting a chit-fund business to purchase a mattress for herself. Meanwhile, the film exposes Ashraf’s utter incompetence, highlighting his inability to handle even basic tasks. A memorable shot depicts him struggling to open a pressure cooker, underscoring his dependence on the women in his life and how incapable he would be without them.

 

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Reflecting on the film and its themes, Fasil Muhammed said, “My film and the character Fathima are a reflection of the women around me — those I grew up watching and listening to. This small movie is a compilation of the experiences of my mother, sisters and friends, as well as the stories I have observed and understood.” He also added that the film’s political implications are rooted in his belief in feminism, which advocates for equality between men and women.

Feminist Fathima also demonstrates skillfully that it is possible to critique harmful practices, such as misogyny within Muslim communities, without perpetuating Islamophobia. Although Ashraf is an Ustadh at the local mosque, the film does not dismiss Islam or its core teachings. Fathima herself is shown as a practising Muslim. Instead, the narrative focuses on how patriarchal norms operate within households, especially in orthodox families, and how religion is often deliberately misinterpreted to justify oppression and maintain control over women.

One of the movie’s greatest strengths is its performances, with Shamla Hamza delivering one of the most compelling portrayals in recent memory. Kumar Sunil is equally impressive as the Ustadh, particularly standing out in the comedic scenes. Remarkably, even the supporting and background actors excel, adding depth and authenticity to the narrative. Fasil’s intimate understanding of Ponnani, his hometown, is another highlight, lending the film a natural vibrancy, especially in its humour, which is plentiful yet never feels forced.

Besides Fasil’s strong writing, direction and editing, Agney’s art direction deserves high praise for meticulously crafting the film’s environment. Prince Francis’ cinematography is also outstanding, capturing the story’s confined setting without making it feel suffocating. His work stays true to the film’s tone and maintains visual fluidity. Kabeer’s music also stands out for its originality, breaking away from conventional tropes often seen in films with Muslim protagonists. At the same time, Sachin Jose’s sound design enhances the realism of the setting, making the film’s world all the more immersive.

Feminist Fathima movie cast: Shamla Hamza, Kumar Sunil, Viji Viswanath, Pushpa, Praseedha, Raji Menon
Feminist Fathima movie director: Fasil Muhammed
Feminist Fathima movie rating: 4 stars