In 'Feminichi Fathima', the script smartly links financial freedom of Muslim women to feminism.
Published Oct 12, 2025 | 8:00 AM ⚊ Updated Oct 12, 2025 | 8:00 AM
A poster of the film 'Feminichi Fathima'. (Supplied)
Feminist films often take a serious approach to storytelling. Faasil Muhammed’s Feminichi Fathima, now in theatres, follows a simple yet powerful plot set in a Muslim family in Ponnani, Kerala.
The film doesn’t feature a star-studded cast or the usual elements of a blockbuster—no loud drama or divine flair. Instead, it offers a strong, satirical take on patriarchy. Without glorifying anything, it delivers a sharp and meaningful message.
Faasil Muhammed takes the audience to his hometown, Ponnani. The young director revealed that the core of the story is based on a personal experience at his sister’s house. Speaking to the media during the premiere in Kochi, he shared that the idea came from a moment in his sister’s life when she was upset about not being able to use her mattress.
Most of the film’s actors are also from his hometown.
Feminichi Fathima.
The movie opens with Fathima (Shamla Hamza), who lives a simple life with her husband Ashraf (Kumar Sunil), a Muslim cleric, and their three children. Life seems normal until Fathima discovers that her elder son has urinated on her mattress.
This upsets her deeply, as the mattress is her only relief from persistent back pain. She tries to clean and sun-dry it, but problems arise when a dog climbs onto it while it’s outside.
Ashraf offers no support. His ego dominates many scenes, and he refuses to let her bring the mattress inside or buy a new one. These events are portrayed with satire, reminding viewers of Jeo Baby’s The Great Indian Kitchen (2021), which depicted a wife’s struggles in a Hindu household.
In Feminichi Fathima, the script smartly links financial freedom of Muslim women to feminism. It shows how women, both in rural and urban areas, run small chit funds as a source of income — a quiet act of empowerment.
One striking dialogue asks, “How can a woman who wears Pardha become a feminist?” The film challenges this stereotype, showing that wearing Pardha and being a feminist can go hand in hand. In one scene, Ashraf, the male chauvinist, is annoyed seeing young girls in Pardha posting Instagram reels.
Ashraf also declares, “I am the head of this family and I will take decisions in my house.” However, the director presents him with comedic undertones rather than as a villain.
Fathima, meanwhile, is not someone who fears her husband’s disapproval. She knows she’ll be questioned but still moves ahead on her own terms.
Her mother-in-law, played by Pushpa, is a traditional woman who often blames Fathima — a reaction that feels familiar and believable.
A major highlight of the film is its sharp satire on how even women are influenced by Muslim clerics who spread superstitions. In a hilarious scene, Fathima follows one such suggestion from her husband to retrieve her mattress. It fails miserably, and instead, she gets scolded.
Feminichi Fathima is an engaging film from start to finish. Set in the coastal town of Ponnani, it offers rich visuals — narrow bylanes, sunset views, and a quirky storyline that holds the audience’s attention throughout.
The film draws clear parallels with real-life families where patriarchy still thrives. Its core lies in how a woman challenges these deeply rooted barriers.
How a woman tries to overcome these barriers set by the patriarchy is the major highlight of this movie.
The film also critiques certain practices within Islam. While it could have sparked controversy, it smartly uses satire to deliver a powerful message — without being preachy.
‘Feminichi Fathima’ is a satirical take on feminism. (Supplied)
Feminichi Fathima features Shamla Hamza in the lead role. It’s her debut film, and she fits the character perfectly. Her body language and expressions stand out, especially in scenes where she feels helpless and later transforms into a strong woman. These two shades highlight her acting range.
Kumar Sunil delivers a solid performance as Ashraf. His portrayal of a Muslim cleric is one of his best roles. His dialogue delivery and body language, especially in the satirical comedy scenes, are impressive.
Pushpa, as Fathima’s mother-in-law, plays a character meant to irritate — and she does it convincingly. Her performance adds meaning to the story, giving exactly what the role demands.
Another key character is Suhra, played by Viji Viswanath. She shines as a relatable rural woman, adding depth to the narrative.
The film also benefits from strong technical work, which enhances the overall experience.
(Views expressed here are personal, edited by Sumavarsha)
