‘Brides’ Review: Freedom Isn’t All It Seems in a Vibrant but Disquieting Teen Friendship Study

by

Mistakes that can be learned from, if not entirely avoided, are an integral aspect of adolescence: blunders that help us comprehend our wants, our impulses, our vulnerabilities, our fundamental selves, and leave us with no more than a pounding headache or a slight, blurred tattoo. The main characters, Doe and Muna, in the British film “Brides,” seem to have had little room for error or the freedom to make the wrong kind of choices; however, when they do make mistakes, they do so in a dangerously careless manner that could lead to severe consequences. The film, written by Nadia Fall and inspired by real-life cases like Shamima Begum, appears at first glance to be a controversial piece, but it demonstrates a surprising level of compassion and humor as it delves into the personal lives behind sensational news stories.

In essence, “Brides” doesn’t delve deeply into terrorism or online radicalization, nor does it mention ISIS. Instead, Suhayla El-Bushra’s engaging screenplay portrays a journey that mirrors Begum’s, focusing on the viewpoints of the two young girls embarking on this journey who see only an escape, not a trap. The film’s tense subject matter is likely to draw interest from distributors and programmers, while in the U.K., its recognition will be boosted by El-Bushra’s notable reputation as a playwright and the artistic director of the Young Vic theater. However, “Brides” primarily serves as an exploration of the intricate, sometimes challenging dynamics of teenage female friendship – a less sensational, yet more impactful theme.

2014: A year prior to Begum’s notable flight and two years before the Brexit vote escalated anti-immigrant feelings in the U.K., particularly Islamophobia. At this time, 15-year-olds Doe (newcomer Ebada Hassan) and Muna (Safiyya Ingar, known for “The Witcher” on TV and last year’s Sundance film “Layla”) have faced the impact of this prejudice in distinct ways. Born in Somalia, Doe moved to England with her mother Khadija (Yusra Warsama) at the age of three. Despite residing there for over a decade, she is often treated as if she had just arrived. This is largely due to the contrast between Khadija’s outgoing, secular lifestyle and her daughter’s growing religious devotion in response to societal pressures. Unfortunately, this increased piety makes Doe an easier target for jihadist recruiters exploiting social media.

Through her own confession, Muna, who is wittier and more worldly, isn’t as devout a Muslim as Doe. She doesn’t wear a headscarf and has stopped attending mosque long ago. Born in Britain to Pakistani parents, she recognizes that her fundamental religious upbringing will always make her an outsider in the small, gray, predominantly white coastal town where they reside. Their home environment isn’t particularly welcoming either; Doe often argues with Khadija’s abusive white partner Jon (Leo Bill), while Muna frequently encounters hostility from her more traditional older brother. El-Bushra, a playwright venturing into feature films for the first time, doesn’t overwhelm her script with this background information at the outset. Instead, she subtly reveals it through frequent, strategically placed flashbacks during the girls’ thrilling, ongoing predicament.

The viewers need to discern the true purpose of Doe and Muna’s journey from its outset – they seem jubilant on a train heading towards London airport, and one might initially think they are embarking on a wild girls’ trip. However, their destination, Istanbul, is an unusual choice for such festivities, and there’s a hint of unease beneath their enthusiasm. Doe is explicitly told by Muna to ignore her phone, and their plans to meet a stranger for further travel raise suspicions even before he fails to appear. Stranded in Istanbul, the girls decide to navigate their journey independently towards their final destination: the Syrian border.

Starting at this juncture, “Brides” morphs into a captivating, serial road trip storyline, even though it feels somewhat artificial due to a series of unfortunate events like misplaced passports and high-speed pursuits by police. The compelling dynamic between Hassan and Ingar, portraying mismatched yet deeply connected best friends – with Hassan subtly reticent and dependent on Ingar’s reckless, sometimes abrasive outgoing personality – helps maintain the film’s course during its more unstable narrative segments. Similarly, the vivid backdrop of location shooting adds to the appeal, reflecting both the charm and danger of the bustling Turkish city for these two small-town girls who might never experience such grandeur again. However, Fall’s directing can at times veer into exaggeration: the strategic inclusion of M.I.A.’s rebellious song “Bad Girls” midway through feels too on-the-nose.

The bond between Doe and Muna is never casual or superficial, and their loyalty towards each other isn’t assumed just because they share the same identity. Muna’s reason for choosing such a dangerous escape route seems more complex and ambiguous compared to Doe’s. However, the captivating Ingar helps make sense of a charismatic but solitary girl who has come to view friendship as her faith – something to be unwaveringly followed into uncertainty. Occasionally, one longs for additional glimpses into their life together in Britain as their unbreakable bond develops, but “Brides” maintains its impressive brevity at just 93 minutes. A poignant, extended scene near the end of their first encounter provides most of the necessary information: a pivotal teenage mistake happening simultaneously as both life-altering and potentially life-ending events unfold.

Read More

2025-01-25 13:46