Submission

Submission is a controversial 2004 Dutch short film that was written and directed by former Dutch politician and human rights activist Theo van Gogh.

The 11-minute film is unique, thematic, and significant. It embraces a structure that is a fusion of real-life drama and quietly resonant poetry to offer an intense and harrowing peek into the lives of women in Islamic societies.

Submission Part 1, the first in a series, tackles the complex intersections of religion, human rights, and feminism. It centers primarily around issues of domestic violence and the abuse of women. The use of an engaging narrative, with dialogue saturated in intricate intertextuality, which presents a critique of certain interpretations of Islam that allow for the mistreatment of women, gives this movie its bold characteristic.

Set in contemporary Netherlands, the movie features the story of a young Muslim woman, voiced by actress and writer, Ayaan Hirsi Ali, who is also notable for her staunch advocacy for the rights of Muslim women. The main character in her poignant narrative is haunted by dreams where she meets other women subjected to various forms of domestic and sexual abuse. Hirsi Ali uses moments of soliloquy to bring these women's stories to life and give them a voice. Their stories tell of oppression, violence, and despair they suffer due to the strict interpretation of the Quran.

Against this backdrop, Submission uses stimulating and thought-provoking visual metaphors. The main character is shown praying on a prayer mat, but her naked form, covered in a translucent shroud, becomes a canvas for projected verses of the Quran. The verses challenge traditional Islamic doctrines about women's submission. These striking visuals serve a two-fold purpose: they retain the sense of sacredness associated with prayer while simultaneously showcasing the pain and exploitation experienced by the woman.

The film's title itself is a translation of the term "Islam", which means "submission to God’s will". In the film, however, this concept of submission is implied more overtly to refer to the subjugation and mistreatment of Muslim women, giving the title a level of irony and dark humor.

The color palette of the film is raw and minimalist, often featuring harsh contrasts. The dark, muted yesteryears contrast starkly with the present's sterile whites, highlighting the protagonist's ongoing ordeal. The simplicity of the set underscores the intensity of the narrative, and the stark visuals magnify the movie's unsettling tone, providing a pumping heart to the dark, dramatic monologues.

However, as provocative and eye-opening as Submission is, it has triggered significant controversy. It instigated an uproar in the Muslim community both in the Netherlands and on a global level, which led to the filmmaker, Theo van Gogh, being brutally murdered. The murderers saw his work as a blasphemous critique of Islam. Even today, Submission continues to generate intense debate on freedom of speech, religion, and the role of art and cinema in society.

Apart from stirring controversy, Submission's significant message on the dire need for reform, dialogue, and understanding within and about Muslim societies is universally acknowledged. As a cinematically groundbreaking movie, it boldly presents charged and potentially transformative discussions around the rights of women in Islam, prompting viewers to face the urgent issues of domestic violence, misogyny, and sexism.

Submission pulls no punches in its daring critique of extremist interpretations of Islam that oppress women. While it is not a cinematic experience for the faint-hearted, Hirsi Ali's narration and the film's disturbingly real portrayal of abuse make it a compelling watch. It is a potent statement that reminds us of the power of narrative to question socioreligious norms and catalyze change. The movie's fearless quest for truth, coupled with its poignant storytelling, leaves an indelible impression on viewers, prompting them to question their understanding of religion and human rights. It serves as an impetus for further dialogue and discourse on these vital issues.

To summarize, Submission is a provocative socio-political critique and an emotionally powerful short film that uses a combination of poetry, dialogue, and visual simplicity to bring its message to the forefront. The impact and importance of this movie are as relevant today as they were when it was first released in 2004. The film's amalgamation of art, politics, and religion produces an intricate mosaic of pain and resilience that's impossible to ignore, making Submission a must-watch for those interested in human rights, women's empowerment, or world religions.