Mareike Engelhardt’s debut film, “Rabia,” explores jihadism’s indoctrination through a personal lens, inspired by a chilling story of a couple planning a terrorist act. The film addresses generational trauma, reflecting Engelhardt’s family history linked to Nazi support. Through extensive research, she reveals the complexities of women’s roles in extremism. Despite initial fears for her safety, Engelhardt emphasizes the importance of engaging young audiences, who are particularly vulnerable to manipulative ideologies, ultimately aiming to inspire change through cinema.
Exploring the Impact of Jihadism Through Cinema
AlloCiné: The topic of jihadism and its indoctrination power is quite significant for a debut film. How did your journey begin?
Mareike Engelhardt, the director: For a first film, I believe it’s crucial that the subject matter is deeply personal. I stumbled upon an article about a couple intending to detonate the Eiffel Tower before their wedding as a means to attain paradise, all in the name of Daesh. This chilling narrative highlighted how Daesh manipulates the emotions and aspirations of youth to promote a lethal ideology. Years later, I discovered a connection to my own history.
In my family, there were individuals who supported Hitler. It’s a heavy burden to carry, and I feel like I’m the first generation able to discuss and address it, while for my parents, the wounds are still too fresh.
I feel a responsibility to examine this recurring theme, which reemerges under different names and ideologies. At its core, the methods of indoctrination and psychological manipulation remain strikingly similar.
Confronting Generational Trauma Through Film
Did creating this film assist you in processing this generational trauma?
Absolutely, I believe it has. Making a debut film is akin to giving birth; you pour immense time and emotion into it. This inquiry may come early since this is our first festival [the Francophone Film Festival of Angoulême, where the film premiered, ed. note], and it’s also the first time I’m receiving genuine feedback. The affection and conversations from viewers have been overwhelming.
Now, I’m realizing how audiences are engaging with the film. Initially, I was concerned it might be too intense, but I now sense a clear connection between the film and its viewers.
What kind of research did you undertake to write Rabia?
I sought out information from every possible source, reading extensively. I soon connected with Céline Martelet and Édith Bouvier, who had just published their book Un Parfum de Djihad, which I highly recommend. They raised a significant point: men are typically portrayed as fighters while women are seen as mere victims, often depicted as naive. However, in my conversations with these women, I discovered that many were fully aware of their choices and the paths they were taking. This narrative is echoed by Yazidi survivors, who recount that female fighters could be just as brutal as their male counterparts.
Is there a risk involved in making such a film?
Indeed, I was warned about this risk early in the writing process. A journalist friend cautioned me, saying I was risking my safety, suggesting, “If you care about your children, avoid this topic.” That frightened me, and I nearly abandoned the project. But then I thought, “This is a once-in-a-lifetime opportunity to create my first film.” I still possess the naivety to tackle such a monumental subject. It’s vital for me, and if I am to dedicate years to a cause, it must be something larger than myself. After all, filmmakers often aim to inspire change in the world.
Is the long shot of a car driving through deserted streets authentic?
Yes, this footage was kindly provided by a journalist who was in Rafah at the time the film is set. These images were captured in Rafah in June 2017, and we were fortunate to incorporate them into our narrative. It was essential for us to acknowledge these as real depictions.
Why is it crucial for younger audiences to view Rabia?
Young individuals are particularly vulnerable, navigating a phase where they seek purpose and meaning in their lives. When someone presents a convincing narrative that offers a sense of belonging and community, it can be incredibly appealing and comforting. Many youths come from backgrounds lacking affection and are traumatized by various experiences, making them susceptible to manipulative organizations. I believe art serves a significant role in providing food for thought and sparking reflection.
Interview conducted by Thomas Desroches, in Angoulême, in August 2024.
Rabia by Mareike Engelhardt is now showing in cinemas.