Animalia

Writer and Director: Sofia Alaoui

With Animalia writer and director Sofia Alaoui uses an unearthly visitation to encourage viewers to question social class divisions, identity and belief.

In present-day Morocco Itto (Oumaïma Barid) escapes rural poverty by marrying into a wealthy Francophone family but is aware she does not meet the approval of her judgemental in-laws. Pregnant with her first child but with no purpose in life Itto lounges around the luxurious home wasting time on social media.

A mysterious meteorological event prompts the authorities to declare martial law and impose road blocks which leave Itto stranded as her husband Amine (Mehdi Dehbi) and his parents are out of town on business. A neighbour is bribed to help Itto avoid the roadblocks but reneges on the deal leaving her stuck in a village the name of which she does not even know. The impact of the mysterious events becomes more significant as they seem to be occurring at telluric locations such as Ley lines.

Itto’s efforts to reach her husband become more desperate, including an attempt at stealing a motorbike, before she persuades barley salesman Fouad (Fouad Oughaou) to take her as a passenger. Fouad does not share Itto’s religious beliefs and conversations with him, and a growing number of inexplicable events, lead to her questioning her identity and perception of reality.

Writer and director Sofia Alaoui structures the opening of the film like an unconventional horror movie. Stuck in a nameless village populated by hostile males, Itto notices ominous packs of dogs roaming freely during the day but sitting motionless like sentinels at night. Birds fly at people as if to nudge them along a particular route. An increasing number of creepily smiling ‘holy fools’ greet  Itto assuring her everything will be alright and she should not allow fear to prevent her from acting.

The social class consciousness aspects of the film are developed by Itto’s conversations with Fouad. Itto adheres to a religious faith but shows a calculating side to her character and confusion as to her identity. She rejected her original identity, in a humble Berber household, to climb the social class ladder, but returns to her native language when trying to secure a favour. In her new household she struggles to establish a new identity finding she has more in common with the servants than her mother- in-law, Hajar (Souad Khouyi) who disapproves of Itto’s gauche table manners and carelessness in staining silk robes while preparing food. Although disaffected Fouad is more idealistic, refusing to believe in a deity who favours the wealthy.

The metaphysical aspects of the movie are left deliberately vague and may seem a bit ‘drippy hippie’ to some viewers. Itto emerges from a glowing mystic cloud with her consciousness and perception expanded to appreciate how all things are connected. One effect is that she embraces a herd of goats perceiving them to be her family.  Some of the explanations offered by the alien visitors, through their evangelical representatives, seem a bit twee- the human race is compared to fish, unaware of the environment in which they are immersed.

The revelations about the interconnectedness of the universe are more philosophical than practical but Animalia works well as a journey of discovery for the central character. Oumaïma Barid shows Itto to be initially a passive creature, lazing around the house playing with her Smartphone.  The abrupt changes Itto endures push her into becoming feral, facing up to disapproving male stares and even turning to theft in desperation. Oumaïma Barid excels at drawing out the sense of wonder experienced by Itto as she contemplates the alien revelations.

Animalia is a positive film, Itto’s husband Amine proves also to be capable of changing his attitudes. Amine unintentionally insults Fouad by attempting to pay him for helping Itto but is later moved to tears as he begins to take a wider view of the universe.

Animalia is a strongly atmospheric, thought-provoking film with a powerful central performance. The philosophical ponderings may be a bit too vague to be fully satisfying but there is no denying the ambition and talent of writer and director Sofia Alaoui.

Animalia will be released in cinemas across the UK and Ireland on 12th December.