Ali: Fear Eats the Soul

Ali: Fear Eats the Soul is unlike most films I’ve seen. It follows the relationship of an older German woman, Emmi, and a much younger immigrant man from Morocco, Ali. From the very beginning up until the end, it feels quite awkward and unsettling. Not because of their relationship, but because of everyone else’s reaction to it. As Judith Mayne in “Fassbinder and Spectatorship” describes, “Emmi’s relationship to Ali exists for the viewer through the disapproving gazes of her co-workers, neighbors, children and the nameless figures in public places” (Mayne 62). The film heavily centers around this act of staring. In turn,  as spectators, we are really doing just the same as everyone in the film, watching Emmi and Ali.

The way Emmi and Ali’s relationship is portrayed is really interesting. Again, they are most often shown through the eyes of others, being watched. Their relationship, from the very beginning relies on, and is defined by others. They only meet and start talking because someone tells Ali to dance with Emmi. Then later, they get married only when Emmi’s landlord accuses her of violating her lease because Ali was staying over. Just when Emmi can’t take people’s glares any longer she suggests a vacation, saying that when they get back things will be better. This is the turning point in the film. When they return, people do seem to be nicer and more accepting of their relationship on the surface. However, people only really welcome them back because they want something from Emmi. Her grocer who kicked her out of the store for defending Ali previously, invites her back because he is losing business to a larger supermarket. Her son comes back, after kicking in her TV and storming out of her house when he originally found out she married Ali, because he needs her to babysit his kids. Even her neighbors, who were so mean to her before, become friendly because they want to use her basement space. 

After being so alienated by the people around them, Emmi and Ali start to internalize this objectification from others. This seems to be ultimately sparked in such a small moment when Emmi refuses to make Ali couscous, and says he needs to get used to German customs. Emmi returns to work to find out one of the other cleaning ladies has been fired and replaced by an immigrant woman. Earlier, Emmi was ignored at work by the others because of her marriage to Ali. Now the roles are reversed, as she is let back into the group, and she joins with the others ignoring the new worker. Emmi invites the other co-workers over to her home, where she shows off Ali like a circus animal; letting them feel his muscles, and assuring them that he showers everyday. Ali does this as well when Emmi comes to the garage where he works. One of his co-workers makes a joke about Emmi and Ali laughs right along with them. 

Ali is neither a melodrama nor a political film, but sits in between and subverts both genres. It doesn’t have a happy ending, like melodramas usually do, and it doesn’t analyze or propose a solution like most political films. However, the film is still very much a critique of German society and continues to unsettle and question people’s beliefs even today.