In our full Ish review, director Imran Perretta's debut feature proves to be a poignant coming-of-age story that tackles youth, grief, and systemic racism in contemporary Britain. Co-written with Enda Walsh, this film captures the emotional vulnerability of childhood alongside the heavy weight of adult socio-political pressures. It stands comfortably alongside contemporary classics of British and European youth cinema, offering an intimate yet devastating exploration of friendship unraveling under police surveillance and societal tension.
A Summer of Friendship amid Personal Loss
The story centers on twelve-year-old Ishmail, played with delicate nuance by newcomer Farhan Hasnat. Following the recent death of his mother, Ishmail seeks solace in the company of Maram, an older neighborhood boy portrayed by Yahya Kitana. Set against the backdrop of a rundown, predominantly Muslim neighborhood in Luton, the two boys construct an innocent world of their own. Together, they spend long summer days converting a discarded mattress into a play space, building hidden dens inside nearby woods, and foraging for wild blackberries that leave their fingers stained. Farhan Hasnat delivers a remarkably subtle performance, portraying a young boy quietly navigating grief through friendship.
Surveillance, Racism, and Growing Dread
However, this serene bubble of boyhood innocence is constantly threatened by surrounding socio-political realities. Maram is of Palestinian heritage, and background noise from crackling radio reports brings news of conflict in Gaza and street protests across the United Kingdom. Looming even closer is the constant presence of law enforcement. From the film's opening shot of an abandoned bicycle surrounded by unseen shouting voices, tension simmers beneath the surface. Spliced security camera footage equipped with facial recognition technology underscores how plainclothes police continuously track the children. The impending danger culminates when stop-and-search officers suddenly snatch Maram directly off the street, leaving Ishmail to run away in terror.
Masterful Aesthetics and Sound Design
Cinematographer Jermaine Canute Edwards shoots the feature in melancholic, nostalgic black-and-white, effectively mirroring the dual nature of adolescent hope and looming adulthood. Imran Perretta's background as a musical composer further elevates the storytelling through an immaculate soundscape created by Jens Rosenlund Peterson and Nina Hartstone. The auditory experience seamlessly blends blaring overhead airplanes, static radio broadcasts, and swelling orchestral arrangements to express the emotional turbulence of the lead duo. Through its restrained direction, the film presents a complex, honest portrait of working-class community tensions without relying on melodramatic excess.
