Brides: The Shocking Truth Behind Radicalized Teen Girls

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Nadia Fall’s movie, titled “Brides“, is an immediate, disquieting, and profoundly compassionate coming-of-age story that boldly delves into the conflict between self-determination and manipulation in the radicalization of young females. This narrative is loosely based on a real event involving the Bethnal Green trio, three East London schoolgirls who departed their homes in 2015 to join ISIS. The film chronicles the lives of Doe (Ebada Hassan) and Muna (Safiyya Ingar), two close friends who, struggling with feelings of alienation in the U.K., embark on a dangerous journey to Syria.

The flawed scheme arises from a deep yearning to fit in, an urge to flee the inconsistencies of their past, and the temptation of a cause greater than themselves. As their journey grows riskier, signs of doubt emerge in their commitment. Through Suhayla El-Bushra’s meticulous and empathetic script, Brides questions established stories, delving into the fragility, rebelliousness, and innocence that influence the decisions of two young girls who perceive no future for themselves in their current circumstances.

A Story That Unfolds Through Sensation, Not Just Plot

The movie starts with the soothing yet unsettling sound of flowing water, signaling change. Above, two girls are seen swinging together, their hands clasped, gazing dreamily skyward. In a sudden, almost harsh transition, they disappear. This instant captures the essence of Brides: the poignant heaviness of girlhood’s vulnerability and the impending reality of its fading away.

In a different phrasing: Shy Doe often slips out of her residence under the cover of night, her hands dyed with henna standing out starkly against the shadows. She casts a glance at her mother, Khadija (Yusra Warsama), who chooses not to wear a hijab and is married to a cruel man in white. Doe harbors resentment towards her mother’s efforts to assimilate into Western culture, feeling trapped between her longing for cultural identity and the hostility she encounters from all sides. Meanwhile, bold Muna simmers with anger. She is consistently judged based on her religion and appearance, an experience that fuels her rebellion. Their friendship serves as a lifeline, yet it also pushes them towards a perilous journey together.

A Study in Cinematic Perspective

The blend of Fall’s composition and El-Bushra’s scriptcrafts a visual and storytelling dialect that seamlessly transitions between the girls’ inner landscapes and the harsh terrain of their voyage. One of the film’s most ingenious narrative techniques in Brides is its employment of memory as an emotional expositor instead of explicit explanation. When a character acts perplexingly or illogically in the current scenario, the movie swiftly switches to a memory that clarifies the choice — unveiling the agony, rejection, or yearning that surges through them at that instant.

Instead of just recalled memories, these are raw feelings resurfacing in the present moment. A current instance of fear instantly takes us back to a past racist encounter. A brief pause before advancing mirrors a prior conversation about faith and loyalty. This creative approach lets Brides avoid conventional exposition, yet keeps viewers deeply involved in understanding the emotional rationale behind the girls’ actions.

‘Brides’ Shows the Insidious Nature of Ideology

In certain parts, the movie creates a sense of discomfort not through direct dialogue but through subtle suggestions in framing and editing. For instance, a seemingly innocent scene of Doe and Muna playing laser tag initially appears to be just a casual teenage pastime. However, as the scene progresses, it subtly transforms into a chilling allegory for the manipulation of jihad through gamification, where online propaganda has redefined violence as sacrifice and camaraderie. The movie superimposes radical ideology onto voiceovers, compelling viewers to ponder whose words genuinely belong to Doe and Muna, and which ones have been instilled in them. Their conversations, filled with teenage vernacular and personal issues, starkly contrast with the polished, almost rehearsed tone of their radicalized discourse.

The gap between what they say and what they truly believe, as shown in their actions, reveals how propaganda works subtly – not through one strong argument, but by gradually reshaping their identity and beliefs until it feels like their own thoughts. The movie doesn’t clearly distinguish between personal beliefs and brainwashing; instead, it skillfully portrays the chilling adaptability of influence during adolescence and the susceptibility of young minds to external ideas.

The Tension Between Choice and Coercion

In this movie review, I found myself in an unexpected predicament: rooting against the protagonists, a rare and peculiar position to occupy. As the story unfolded, each hurdle these girls encountered – be it a halt, a questioning, or a capture – brought an odd sense of relief rather than tension. Yet, the movie never portrayed them as antagonists. Instead, the film Brides compels us to empathize with their perspectives. They don’t perceive Syria as devastation, but as liberation.

In Istanbul, the movie introduces a compassionate bus station attendant who lives a tranquil and content Muslim life. This scene presents an alternative path, neither Western conformity nor fanatical beliefs. However, this way of being is insufficient for Doe and Muna. Muna’s poignant exclamation, “Who cares about two brown girls?,” encapsulates the emotional core of the film. It symbolizes despair, resistance, and the conviction that they will never find a genuine future in the U.K.

An Ending Defined by Empathy

I won’t spoil the ending of “Brides” because it isn’t about surprises; instead, it’s about the impact it leaves – a profound contemplation, an unsettling sadness that lingers. Unlike other films that dehumanize or oversimplify, this one challenges us. It invites us to observe, comprehend, and acknowledge that even teenage girls in difficult circumstances are complex, they’re impulsive, hopeful, fearful, and filled with contradictions.

In a world where divisive viewpoints and reactive politics seem to be the norm, I find myself drawn to films like “Brides” that demonstrate cinema’s enduring capacity to foster understanding and empathy. This film compels us to confront narratives we often choose to avoid, making it an indispensable watch.

I was fortunate enough to catch “Brides” at the Sundance Film Festival, and I encourage you all to do the same! It will be screened again on February 2nd. For those who can’t make it to a physical screening, don’t worry – it’s also available online to the public until February 2nd. Click here for more details.

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2025-01-31 05:35