A racially profiled police stop-and-search sends two best friends hurtling onto a collision course in Imran Perretta’s debut feature film, Ish. Perretta co-wrote the script with Enda Walsh (known for Die My Love and Hunger) and developed the project alongside producer Dhiraj Mahey through their company Primal Pictures, in collaboration with BBC Film.
The film, which clinched the audience award at Venice Critics’ Week, stars Farhan Hasnat, Yahya Kitana, and Sudha Bhuchar. It tells the poignant tale of Ish and Maram, two barely teenage boys grappling with police harassment and its far-reaching consequences, as noted on the website for the 69th edition of the BFI London Film Festival (LFF), where it will be screened on Wednesday. "Naturalistic performances, an unconventional score (also crafted by multidisciplinary artist Perretta), and lyrical, monochrome visuals make this a standout British film that champions characters often marginalized—both onscreen and off," reads the description.
During a Tuesday LFF Industry Days session titled “Anatomy of a Debut: Ish,” writer-director Perretta, producer Mahey, and co-writer Walsh shared insights and behind-the-scenes glimpses. The session was moderated by former BAFTA head of programs Mariayah Kaderbhai and organized in association with The Hollywood Reporter.
When asked about the film’s origins, Perretta said it allowed him to "delve deep into my youth and teenage experiences." He recounted a life-altering incident. “Embedded in this coming-of-age narrative is the loss of innocence,” he reflected. “For me, if I'm being honest, the moment I truly grew up—against my will—was when I was 13 and dragged into a police van. That was the moment I transitioned into adulthood.”
It took years for him to fully grasp this, Perretta concluded. “It’s a story of heartbreak and loss, interwoven with a political meta-narrative,” he said. “It’s about self-determination and finding your place in the world.”
While rooted in Perretta’s experiences, the film evolved into a genuine creative collaboration, as all three panelists emphasized. “The soul of the piece was truly beautiful,” Walsh remarked when asked about his entry point. “It was about 1,000 pages long. Bloody lengthy. It had all those classic first-draft quirks—rushing the story, taking time to refine the pacing. But the essence was there. There was a clear three-act structure, and as someone who loves that framework, it was about enhancing the emotional shifts and tension, about withholding information from the audience and positioning them within the narrative.”
Mahey shared how his ambition was to submit the film to Berlin, Cannes, or Venice. However, the creative team’s meticulous work on Ish meant missing the deadlines for the first two festivals, making Venice an all-or-nothing proposition—where the film ultimately triumphed.
Mahey also shed light on working with a cast of young, non-professional actors. “Beyond child protection and safeguarding, we collaborated closely with We Are Bridge, leaders in nurturing young talent,” he explained. “We had youth workers on set, every possible specialist, and chaperones.”
The two main characters are of British-Palestinian and British-South Asian descent, though this wasn’t the initial plan before casting. Gaza’s presence in the news was part of the script “from day one,” Perretta recalled. “But when we cast Yahya Kitana, who is British-Palestinian, we felt, ‘This is a chance to be more specific, more sensitive.’ Not to overstate it, but to ensure we cared for this boy within the film’s context and portrayed things authentically. What does it mean for these young boys to confront those images [from Gaza] daily? What does it mean for a young Palestinian boy to see those images while being so far from family? We felt a responsibility to reimagine Maram’s character to better align with Yahya’s cultural background.”
The casting process was arduous, aiming to capture the right chemistry. “We saw countless young boys from Luton,” near London, where the story unfolds, the director recalled. “Close to 1,000.” It turned out Hasnat and Kitana shared a real-life bond, having known each other since ages four and two, respectively. “They were basically real-life best friends,” Perretta marveled. “What a gift!”
