Burhan Qurbani’s Bold Take on Freedom and Identity in ‘No Beast. So Fierce’

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In Burhan Qurbani’s film “No Beast. So Fierce,” premiering at Berlinale Special, the story of Shakespeare’s “Richard III” is reimagined in a contemporary context. Instead of Richard III, we have an Arab gangster queen named Rashida who rises to power and dominates the criminal underworld of Berlin.

This is the fifth project from Qurbani, a filmmaker born in Germany whose parents were political refugees from Afghanistan. He gained attention with intense social dramas like “We Are Young. We Are Strong” and his adaptation of Alfred Döblin’s renowned novel “Berlin Alexanderplatz,” which he transposed to the modern-day African refugee community of Berlin.

The film director discusses plans to debut “Beast” during the tense political climate leading up to Germany’s elections, collaborating with German-based Syrian actress Kenda Hmeidan, who portrays Rashida, as well as “Succession” actor Hiam Abbass, who takes on the dual role of both Rashida’s bodyguard and an assassin in the movie.

The lead character in this movie is portrayed as a modern, Arab woman who operates as a gangster. This implies significant commentary on the societal structure of patriarchy. Could you elaborate on the underlying themes of the narrative?

In the film, the protagonist is depicted as a contemporary Arab female gangster, which suggests strong critique of the patriarchal system. Discuss the hidden messages within the storyline.

In the film, Rashida’s initial exclamation sets the central motif. This cry for “Freedom!” raises questions about what it means to be free in a particular society, particularly for women. How might Rashida express her longing for freedom or liberate herself? Empowerment is another key concept here.

Rashida, despite being a complex character with a troubled past, represents the struggle of a migrant and a war survivor within the narrative. As she grapples with her trauma, she perpetuates a cycle of violence and destruction in the story. This cycle can be traced back to her experiences as a displaced person and a victim of conflict.

Discuss with me the idea of choosing Kenda Hmeidan, a Syrian actress who escaped her homeland, for the main character part of Rashida.

Kenda arrived in Germany back in 2016, driven by the Syrian civil war which provided her an opportunity to leave Damascus for Berlin. Consequently, she discovered a means of communicating and conveying her ideas and themes through German, rather than her native language, on stage. I believe you can observe this. I suspect that she aims to embody some of her experiences as someone who lost their country, their home, and had to start anew, in her performances, the way she speaks, and her overall expression.

What was it like working with Hiam Abbass?

At first, I was quite taken aback and somewhat bewildered when she agreed to meet and collaborate with me, given my relatively modest fame in Germany compared to renowned international directors. However, she possesses such humility and impressive training that she managed to provide valuable insights into my script. As an actress, she has this captivating presence that keeps you fixated on her whenever she appears on screen.

Talk to me about the rather complex character that Abbass plays

In my perspective, I’m more than just a guardian to Rashida; I’m like a motherly figure to her. Yet, I serve multiple roles, acting as both protector and executor – a bodyguard and an assassin when necessary. Despite this tough exterior, there’s a delicate side to me that shows vulnerability. Though Abbass may have a secondary role in the narrative, my character serves as the primary catalyst for Rashida’s growth and development.

Your film is debuting in Berlin just a week prior to the national elections where the far-right, anti-immigrant party Alternative for Germany (AfD) is projected to see significant growth. Can you share your perspective on this?

It’s estimated that up to a fourth of all voters might choose the Alternative for Germany (AfD), a party known for expressing anger and mistrust towards people like myself.

For someone like me, who was raised in this country and considers myself more German than Afghan, it’s as if I’ve taken a hard blow. It leaves me feeling insecure, afraid, and even betrayed. We have spent our entire lives here, constructing our lives here. Now, we find ourselves having to rebuild ourselves within a nation that no longer seems to welcome us. In Rashida’s first monologue in the film, she expresses: “You invited us with a promise, but now we see that this promise was always linked to a double-standard.” Freedom appears to be something exclusively reserved for white German society, not for people like us.

This interview has been edited and condensed for clarity.

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2025-02-14 14:49