Opening 27 Mar 2025
Directed by:
Kurdwin Ayub
Writing credits:
Kurdwin Ayub
Principal actors:
Florentina Holzinger, Celina Sarhan, Andria Tayeh, Nagham Abu Baker, Omar AlMajali
Iraqi-Austrian writer-director Kurdwin Ayub (Sonne [Sun], 2022) gradually exposes the difference in lifestyles, mindsets, family fealty—tense, controlling—relationships and how inadequately most people handle any detour from a simplistic continuum in her second feature film (of a trilogy, some say). Mond (Moon) is a broody psychological mishmash of parts drama, thriller and inconclusiveness.
Quick as snapping one’s fingers Sarah (Florentina Holzinger) sinks into predominantly petulant unemployment after losing an important professional martial arts match. Instructing dilettantes is unsatisfying, both professionally and monetarily. Advertising online she finally lands a job in Jordan, for her the equivalent of winning the lottery. Or is it? The contract is for training three Jordanian sisters with nearby hotel accommodations provided. Her employer, Abdul (Omar AlMajali), is effusive, reassuringly telling Sarah how excited his sisters are, and her every expense is covered. There is just this small matter… all employees sign NDAs (non-disclosure [confidentiality] agreement). Contrarily, Shaima (Nagham Abu Baker), Nour (Andria Tayeh) and Fatima (Celina Sarhan) lackadaisically follow Sarah’s instructions. There is no internet within the palatial surroundings, guards keep them under surveillance, and their schedule is monotonous. For relief Sarah spends most evenings chatting with on-duty staff in the hotel’s lounge, eventually generating questions that are ignored, unanswered. Additionally, peculiar things are happening within the confines of the mansion when Sarah is with the girls. Something seems terribly wrong; she just cannot put her finger on it. Until it’s too late. Or is it?
Klemens Hufnagl’s up-close and personal camerawork moodily attaches itself to characters enticing audiences’ watchfulness, piquing curiosity. Inevitably Roland Stöttinger’s humdrum, random editing results in ambiguous clarity in key areas, and too-long sequences that are tedious, e.g., Sarah at a disco. At face value Ayub is making a number of important points about prejudices, preconceptions, patriarchy. Instead, Mond’s underdeveloped storyline tapers off whenever the emotional current seems to be charging up. Her indecisiveness at key points during the film results in an avoidable, yet inconclusive confusing ending. (Marinell Haegelin)
