The streets of Paris are immortalized in cinema as the city of lights and love. But the French capital is given a new look in Yann Demange’s new short film, DammiThe French-Algerian filmmaker flips the script on the clichés of Paris and the city takes on a different hue – one of discovery and conflict, mirroring the emotional fusion of its protagonist Mounir. A delicate 16-minute exploration of identity and reconciliation, the film has already made waves at the Toronto International Film Festival and is now approaching its international streaming release on MUBI. It stars the always versatile Riz Ahmed, who portrays Mounir with a grace that is as gentle as it is tempestuous.
Demange chose Ahmed for this extremely personal project. Growing up in foster care and struggling with his Algerian-Muslim roots, Demange poured his own vulnerabilities into it DammiThe film is as much about them as it is about the character of Munir, a man adrift in Paris, who is estranged from his father but finds solace in Hafiza (Dune: Part Two‘Souhelia Yacoub’, a French Algerian woman of Persian heritage.
A scene from ‘Dummy’ | Photo Credit: MUBI
“Yan has made himself incredibly vulnerable by telling such a personal story,” the British-Pak actor, rapper and activist reflected on the film’s rawness. “In the film, I play Yan, and Yan’s father is played by his real father. They haven’t been in touch for a long time, so making this film was one of the first times they spent that much time together.”
Ahmed’s portrayal of Mounir is not an imitation of Demange, but rather reflects the director’s essence. “I didn’t think of imitating Yann. I know that the soul of this character is from Yann’s soul. I know him very well, so I tried to find the truth moment by moment with the other actors,” Ahmed explains. This approach to seeking the truth results in scenes that are incredibly touching and equally powerful, especially the scenes between Ahmed and Yacoub, which show some mesmerizing chemistry between the two as they walk the streets of Paris.
a storehouse of metaphors
Dammi The scene is filled with metaphors, none more potent than the recurring motif of drowning, which symbolizes Munir’s struggle for self-discovery. Despite its brief runtime, the film offers layers of interpretation, holding a mirror up to our own identities and relationships.
Ahmed’s voice in the film strikes a poetic chord, reminiscent of his work The Long GoodbyeAhmed’s 2020 concept album boldly reframes Britain’s relationship with British Asians as a toxic love affair that has turned sour following Brexit and the resurgence of the far-right.
Both projects delve deeply into the idea of ​​belonging and alienation, resonating deeply in today’s age of identity politics. Ahmed’s subsequent short film of the same name which earned him his first Academy Award draws parallels between these works, emphasizing their shared exploration of personal and political landscapes. “These themes resonate with many people today,” says Ahmed. “We live in an age of identity politics, and Yann addresses this in a personal and sensitive way. The themes of belonging, identity, and living on one’s land are things I think about a lot. Many people can connect with those feelings.”
Exploring Adventure Options
The actor’s career has been a journey through a plethora of colourful characters and genres, including his breakout role in night crawler for his Emmy-winning performance in of the nightand most recently, his acclaimed turn Metal SoundEvery role seems to push him out of his comfort zone, a conscious choice that reflects his artistic ethos. “There’s no unifying logic in my choices, except what allows me to explore and pushes me out of my comfort zone. If something makes me feel uncertain or a little scared, that’s what attracts me,” he says.
at work Dammi Ahmed found a unique sense of freedom, which is a testament to Demange’s directing style. “Working with trusted collaborators means you don’t have the stress of responsibility. Trust makes you feel free, not judged or evaluated, just supported,” said Ahmed. “Yann’s openness and willingness to explore, even with such a personal story, set a remarkable tone. He cast his father and didn’t cower in fear or try to control everything. He created an atmosphere of openness and discovery, which encouraged all of us to explore as well.”
A scene from ‘Dummy’ | Photo Credit: MUBI
Ahmed’s recent projects seem to be filled with the same spirit of exploration, as he has directed the triple-Oscar nominated, run away (2021), as well as Animated Feature nominee, Nimona (2023). He sees animation as a frontier for socio-political storytelling that pushes boundaries and challenges perspectives. “Some of the best stories have something to say about the world and challenge us to see things differently,” he says. “I don’t separate cinema into political and non-political storytelling. All stories are political because it’s a way of looking at the world. Even stories that we don’t consider political are making judgements about what they don’t say. The artist’s role is to challenge us, expand us, and stretch our hearts and minds to see the world a little differently.”
In his brief but powerful story, Dammi encapsulates this idea perfectly. It’s a film about finding yourself amid chaos, longing for connection and a journey of reconciliation, and a poignant reminder that sometimes, the smallest stories can leave the longest-lasting impression. As Ahmed says, “It’s rare to create something so personal and beautiful with your collaborators who you love and trust, especially in a city like Paris.”
Conversation with Yann Demange
Can you tell us about the concept of this short film? I was wondering about your roots, but I want to hear the real story behind it.
I never initially intended to make a very personal film. I was asked to make a film set in Paris, with the city at the centre. I was hesitant at first, but after being encouraged to find something Paris-related, I began to reflect on what the city meant to me. I was born there, but moved away abruptly as a child; I often visited not my French family, but my Algerian family, especially during Ramadan and Eid. For me, Paris was always linked to Algeria. I didn’t get to see another side of Paris through festivals and film events until I made ’71 and had modest success. It awakened emotions, memories and identity issues that I thought I had outgrown. This film explores what Paris means to me now and my need for more connection, family and maybe a father.
Based on your experience with feature films, how creatively liberating is shooting a short film for you?
It’s liberating. I wanted to escape the constraints of traditional filmmaking and the challenges of making a film while preserving the essence of the film. As people have become risk averse and algorithms have started making decisions, so has the loss of control and fear. This short film gave me a chance to experiment – a break from the usual pressures. It was scary without a traditional storyline. Different from my previous works, this film felt closer to poetry. My co-writer, Roza Atab, and I were looking for a different visual grammar. Short films should stand on their own, not imitate features. I wanted the freedom to experiment and learn, just like I did when I started out. Now, my goal is to work more in studio projects, as well as in Paris and French cinema. This short film helped me explore that path.
Rhys repeats the line throughout the film that “I can never have a different ending to the past.” In that context, how did the final scene come about?
I chose that last image because I have a ray of hope in me. I wanted the characters to overcome their obstacles and connect with each other. I imagined them soaking wet, facing each other, vulnerable. Once I found that image, everything else started to fall into place.
Paris is portrayed in a unique way in the film, almost like a limbo. Was it interesting to portray the characters in Paris in a different way than the usual portrayal of a romantic or dream place?
Yes, the American look at Paris often involves existential conversations over iconic locations like the Pont Neuf or Notre Dame. But when I think of Paris, I remember my experiences in areas like Barbès, Pigalle, and Porte de Clignancourt, where I spent time with my Algerian family. These areas are often portrayed as rough, but I have a lot of love and nostalgia for them. There is a beauty in these parts of Paris that is rarely highlighted, and that is what I wanted to capture in the film.
Algerian Independence Day is coming up on July 5. Does Gillo Pontecorvo’s ‘The Battle of Algiers’ influence your filmmaking style and storytelling? Are there any contemporary Algerian filmmakers who inspire you?
Contemporary filmmaker Karim Aïnouz, a Brazilian-Algerian, is incredible and inspiring. Everyone should see his work. ‘The Battle of Algiers’ has made a huge impact on me. In fact, my aunt is in the film – she plants the bomb in the milk bar and hides behind a wall hidden in the house. I saw that film long before I ever thought of getting into film, and it has left a mark on my entire life. Although ‘The Battle of Algiers’ was not a direct reference for this short film, it is so deeply embedded in my psyche that it continues to simmer beneath the surface. I can’t think of Paris without thinking of Algiers, and I can’t think of Algiers without that film being part of my experience.
A scene from ‘Dummy’ | Photo Credit: MUBI
Dammi is currently streaming on MUBI
