I Want to Provoke Reactions

Writer and director Kurdwin Ayub was born in Iraq, but her family sought refuge in Austria when she was a baby. Now 34, Ayub is rapidly making a name for herself in the cinema world.

Her 2016 documentary Paradise! Paradise!, in which she served as writer, director, and cinematographer, earned the best camera award at the Diagonale – Festival of Austrian Film. The documentary explores the story of a family patriarch, Omar, who plans to buy a property in Kurdistan as an investment, blending domestic and geopolitical themes.

Ayub’s short fiction film Boomerang premiered at the Filmfestival Max Ophüls Preis in 2019 and bagged the jury award for best short film. The plot centers on a man named Adnan, obsessed with attending his ex-wife’s housewarming party, despite not being invited.

Her feature debut Sonne (Sun) premiered at the 2022 Berlin Film Festival in the Encounters section, aimed at highlighting independent and innovative filmmakers. The film, about three friends making a burqa music video in a moment of madness, earned her the best first feature award across all sections of the festival.

On Sunday, Ayub’s second fiction feature Mond (Moon) is set to debut in the international competition lineup at the 77th Locarno Film Festival. Like her previous film, Mond is produced by Ulrich Seidl Filmproduktion, with Ulrich Seidel and Veronika Franz serving as producer and associate producer, respectively. The film follows Sarah, a former martial artist, who moves to Jordan to train three sisters from a wealthy family, only to find them disinterested and cut off from the outside world.

In her director’s note on the Locarno site, Ayub remarks, “It’s all about sisters, no matter where they come from, and about cages, no matter where they are. Cages you want to leave and those you wish you could return to.”

In a conversation with THR, Ayub discussed her new film, the role of music, her desire to provoke audiences, and what lies ahead for her.

How exciting is it to bring Mond to a prestigious festival like Locarno?

To be honest, there is some pressure. Sonne was very successful, and I realized it’s not normal to win a big first film award at the Berlinale. Now, I feel Mond needs to be successful too, but I’m learning to manage this pressure.

People often say that second features are hard, right?

It’s like a horror movie. Everyone says the second film is hardest because it’s when you must prove if you’re truly a filmmaker. In your first film, maybe you just got lucky. At festivals, they look more critically at your second film.

Tell me a bit about where you made Mond and how you cast the film.

We filmed mostly in Jordan. Casting was challenging as many young women and girls would ghost us after agreeing because their parents disapproved of them acting in a movie.

Was that due to this specific movie or films in general?

It’s a general stigma; acting is not always considered honorable work for girls.

So how did you end up finding your wonderful cast members?

I found them in Jordan. Andria Tayeh, a famous Netflix star, became our lead. Once we had her, everyone wanted to participate.

How did you cast Florentina Holzinger?

I knew her from Austria and her martial arts background, making her perfect for the role from the start.

I felt she brings great depth to the character of Sarah…

Yes, she’s incredibly natural and fantastic in every take.

Why did you choose Jordan? Were there any real-life stories you wanted to reference?

There are many real stories in Jordan. I wanted a country that appears liberal but still has underlying issues. One story involves the sister of the Jordanian king who fled to England from Dubai.

Some of your dialogue could provoke debate. How important is this bite for you?

I aim for a realistic portrayal, guiding actors to be more incorrect for authenticity. Casting is crucial; I need actors who are not only natural but also imaginative and smart.

You obviously understand the culture you are writing about. How much of your own experience do you pack into your films?

Elements of the characters and stories are drawn from my life. The cultural conflict I face is mirrored in my characters. The sisters in the film are inspired by my cousins.

When did you move to Austria, and how often did you visit Iraq?

I moved as a baby and visited Iraq frequently. I sometimes feel like a stranger in both cultures.

The ending—how did you decide on its direction?

I wanted to leave it open-ended, reflecting the uncertainty and complexity of reality. Sarah is a relatable figure for my largely white, privileged audience.

Kurdwin Ayub

I aimed to surface clichés and stereotypes, examining both sides of the savior narrative and adding depth to the refugee experience.

Themes in Mond? Violence and cages?

Yes, it’s about the realistic portrayal of the white savior, dealing with violence, and various forms of entrapment.

Music plays a key role in Mond…

Music is pivotal. Every piece is meticulously selected to enhance the scene, like the song S&M by Rihanna, reflecting the characters’ struggles with violence.

What’s next after Sonne and Mond? Sterne?

I’m planning a trilogy and writing the next story, which will again be set in Jordan. Maybe it’s more than a trilogy; perhaps it’s about planets like Mars!

Anything you can share about the next story?

It’s similar to the current themes but explores a different constellation of characters and situations.

Your cinematic voice is quite sarcastic and provocative. Where does that come from?

I have a cynical worldview, influenced by surviving war. I believe in triggering the audience to provoke thought and discussion.

Your films have strong female perspectives. Do you identify as a feminist?

Yes, naturally. I consider myself an artist first, but my struggles for rights within my family are reflected in my work. It’s crucial for everyone to see this movie, including my family.

Anything else to highlight?

The film’s issues – sexism, entrapment – are universal, regardless of geography. The setting serves to provoke and stimulate discussion.

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Source: THR