Mijke de Jong’s international breakthrough came with “Bluebird,” for which she won a number of awards, including the Crystal Bear at the 2005 Berlinale. Her other credits include “Stages,” “Katia’s Sister,” “Joy,” and “Frailer.” Last year she worked together with the theater collective Wunderbaum on the film “Stop Acting Now,” which had its premiere during the 2016 edition of the International Film Festival Rotterdam. “Layla M.” is de Jong’s ninth feature film.
“Layla M.” will premiere at the 2016 BFI London Film Festival on October 11.
W&H: Describe the film for us in your own words.
MdJ: Layla is an 18-year old girl, born and raised in Amsterdam. Layla is smart, witty, stubborn, and of Moroccan background. In the times of constant terrorist threat, she struggles with the increasing suspicion towards girls with headscarves and boys with beards that she witnesses every day.
While her frustration grows, her faith intensifies. Eventually, she joins a group of Muslims who fight for their practice of Islam. Layla posts films online depicting the horrors in Syria and Gaza and makes political flyers. And she flirts with the charismatic Abdel.
When her peaceful brother and she are arrested by the police, Layla, feeling hurt and isolated in her anger, and more and more in conflict with her parents, is left with only one option: to leave home. She chooses marriage, with Abdel. After their wedding, Layla and Abdel roam the country together, perform “missionary work,” and raise money for the good cause. But after they narrowly escape a raid by the Belgian police on a group of young jihadists, they have to flee to the Middle East. Layla encounters a world that nurtures her ideas initially, but finally confronts her with an impossible choice.
Layla is tough, irritating, lovable, allergic to injustice, certain of her own convictions, feminist, and in search of a place where she can be herself. Due to fear and incapacity, she is a girl who frequently shows her dark side, but who eventually chooses a courageous life — one in which she speaks her mind should she deem it necessary, even if this means contradicting the strict codes by which her Muslim brothers and sisters abide by. Her faith in Allah is unconditional, but in her own way. In my opinion, Layla is — and should be — a vulnerable heroine.
W&H: What drew you to this story?
MdJ: For a long time, I have wanted to make a film about a girl who radicalizes and by doing so, places herself partly outside society. I recognize many patterns from my own youth in Layla‘s story: the passion and commitment to social injustice, and the black-and-white simplistic way of thinking that it’s “us against the world.” When I arrived in Amsterdam in the ’80s, the squatter’s movement was about to conquer the city. Within no time, my life consisted of campaigns and demonstrations. The more radical the better. I was looking for structure, for a family, for my identity.
That was 30 years ago. Jan Eilander, who is largely responsible for the screenplay, and I wanted to make a film set in the now, and in a multicultural, upside-down society where your opinions have to be newly devised on a daily basis. In the years that Jan and I have been working on this film, not much has changed in terms of the basic idea, but a lot has changed in the world around it.
We started four years ago. The Arabic Spring had just begun. Young Muslims from all over Europe were radicalizing and moving to Syria. Initially, we saw resemblances to the freedom fighters from the Spanish civil war. At the time we didn’t know how violent and endless the battle would become. But we did know that the dissatisfaction and resistance of young Muslims that don’t feel at home in Amsterdam also had something to do with us and that our new film would touch this subject.
The scenario has known many versions. Never before have I worked on a film that has struggled so intensely with the spirit of time. We were caught up by reality many times. The situation in the Middle East became more and more complicated and the attacks in Europe were growing in numbers. At first, we had the tendency to adopt this in our scenario, but that wasn’t the story we wanted to tell.
The screenplay took off when we returned to our first starting point, and re-focused on the girl from Amsterdam with a radical personality — a girl looking for her own identity who meets the love of her life and wants to change the world with him, all in her own way: That’s when Layla M. was born. Among many things, “Layla M.” also tells the story of a love that is torn apart by opposing views.
W&H: What do you want people to think about when they are leaving the theater?
MdJ: I hope that people are touched, that the film raises questions, that they [understand] a girl like Layla and a boy like Abdel. That people will start thinking less in terms of “us” and “them.” That it makes angry boys and girls think twice and that locals might have a somewhat different approach when sitting in the tram, next to a woman wearing a headscarf. But altogether, I hope that my films will make the world a little softer. The more you know, the more you’ll understand
W&H: What was the biggest challenge in making the film?
MdJ: Everything — filming in Jordan, Belgium, and working in Germany. The biggest challenge was that I was able to work almost completely with a Moroccan cast. I learned so much which has nothing to do with making a film.
W&H: How did you get your film funded? Share some insights into how you got the film made.
MdJ: It’s all shot on location. It’s a co-production between the Nederlands, Germany, Belgium, and Jordan.
W&H: What does it mean for you to have your film play at LFF?
MdJ: It meant a lot. I’ve never been on the festival circuit but its really an honor to be part of such a strong competition and I’m so curious how an English audience will react on the film.
W&H: What’s the best and worst advice you’ve received?
MdJ: I immediately forget the worst advice. I work with such good crews — there are so many good ideas and so much good advice. We made the film together with all the good advice. I’ll share one piece of good advice: Stay calm and focused, and be patient and trustful.
W&H: What advice do you have for other female directors?
MdJ: Keep going. La Luta continua, Sisters!
W&H: Name your favorite woman-directed film and why.
MdJ: Oh, I have so many [favorite women directors]: Claire Denis, Agnes Varda, and Susanne Bier — and I’m sure I’ve forgotten others. These directors’ films are subtle, fragile, from a woman’s point of view. They are great directors.
W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?
MdJ: This is too complex to give a general answer. For example. in our country, we have a lot of successful women directors. But I’m privileged and white. What about black women directors? So much has to be done. I try to start [by doing what I can to change things], like shining light on the life of a young Muslim women with my last film, and on women in general with all my work.
