10/12/2024 - We met with the filmmaking brothers as they looked back on the genesis of their first feature, which is a story blending the tumultuous fates of two Brussels-based brothers of Moroccan origin

Ish (right) and Monir Ait Hamou (© Cinemamed)

On the occasion of the Brussels premiere of their co-directed debut feature, BXL [+see also:
film review
interview: Ish and Monir Ait Hamou
film profile], at Cinemamed, filmmaking brothers Ish and Monir Ait Hamou looked back with us on the genesis of their project and the large movements which led to the writing of this story, which blends the tumultuous fates of two Brussels-based brothers of Moroccan origin who are torn between their dreams and assigned social roles.

Cineuropa: What’s at the heart of this film, in your eyes?
Ish Ait Hamou: For us, BXL is first and foremost a film about dreams. It’s the story of two brothers who live in central Brussels. They try to fulfil their dreams within the context of this city but also in keeping with their characters and their family situation. On the one hand, there are the brothers and their dreams and, on the other, there’s reality. We drill down inside of these two brothers, who try to see things through to the end and who dream big, no matter the cost, which is wonderful on paper, but we’re not always aware of the sacrifices we’ll need to make along the way. Should everyone dream so big? In America, the answer would be yes, but in a slightly more nuanced way.

We wanted to tackle subjects which were important to us and which affect us; the various languages in Brussels, family situations, and the burden of friendship too, which can sometimes prove a hindrance. Sometimes, your best friend can block the path to success.

In the face of dreams, there’s also determinism and inner impediments. The older brother, Tarek, seems to be holding himself back.
Monir Ait Hamou: Yes, sometimes we’re our own worst enemy. And it can happen that we’re not aware of certain determinisms; it takes time to realise they’re there. These little details can have a cruel part to play. And they can change a person’s trajectory.

IAH: As far back as the writing phase, we knew that Tarek would be an introvert who’d internalise everything. And when we don’t talk about the important things, we carry them around with us, like a burden. And everything feels heavier for us. It’s only when he’s in the ring that he actually lets himself go. The day when he finally talks, he’s got nothing left to give and he does it badly.

Opposite Tarek, there’s his little brother Fouad, who offers another side of the story, another person who still believes anything is possible.
MAH: We wanted to tackle lots of themes, and to talk about our childhood too. With Fouad, we wanted to show that problems start when you’re very young, they don’t just come out of nowhere once you’re an adult. We absorb negative experiences, until there’s no going back.

IAH: Fouad is more open, but he’s also caught up in his search for identity. In his particular case, this comes through in how he uses languages: he doesn’t feel at home in either French or Dutch. He falls somewhere between the two. Given his Moroccan origins, he doesn’t see himself as totally Belgian either, because that’s the message society sends him. It’s hard to find yourself at that age, to understand yourself; we rely on what others say about us.

There’s also reflection on how we grow up when there’s a lack of role models.
MAH: As a boy, Fouad doesn’t have a role model, but the main issue is probably the fact that he’s surrounded by broken people.

IAH: Everyone has their flaws, everyone tries. But often, you’re judged on your failures. But the reality is that, yes, he might have fallen at one point, but you have to look at where he’s coming from, the road he’s walked, and not just focus on the failure. It’s normal that we fall or take the wrong path after travelling so far.

The beginning of the film is very “pop”, in the cultural and popular sense of the word, and then things take a more dramatic tone. Why this introduction?
MAH: We wanted to indulge ourselves! Opening the film in a chip shop with a sandwich being made and Jacques Brel playing, is our equivalent of Proust’s madeleine! We wanted to show little moments of life, the beauty of Brussels, despite the chaos. But we very quickly incorporated some more disturbing elements into the mix.

You reveal an off-the-beaten-tracks side of Brussels, and also remind us of the uninhibited racism one particular segment of the city’s population suffers at the hands of the dominant group, using quotes from politicians ranging from Connor Rousseau to Donald Trump.
IAH: Visually speaking, we wanted to share places which are close to our hearts. Because we also know that people who refer to Brussels as “hell” don’t really know it and don’t know the people who live there. The film starts on a positive note, like we’re getting out of bed on the right side. But, as the day goes on, reality catches up with us.

(Translated from French)