Premiering as part of the 75th Berlinale, Burhan Qurbani’s No Beast. So Fierce. is an audacious modern reworking of Richard III, transposing Shakespeare’s tragedy from 15th-century England to the gang-controlled streets of contemporary Berlin. With a striking visual style and a commanding lead performance from Kenda Hmeidan, the film is undeniably ambitious. But much like its lead character, too much ambition turns out to be its eventual downfall.
Rashida York (Hmeidan), the youngest daughter of a powerful crime family, knows she’ll never be allowed to lead in a world governed by men. But what she lacks in social standing, she makes up for in sheer force of will, and as the family’s lawyer she understands power as both a game of words and of blood. She schemes her way to the top, dispatching enemies — some of which include her own family members — with chilling precision to pave the way for her ascension to the throne. Hmeidan plays Rashida with a palpable intensity, often staring directly into the camera for her monologues, as if inviting the audience to become her accomplices; there’s something almost hypnotic about these moments, even though her words are laced with malice.
Speaking of monologues, one of the film’s most interesting ideas is its blend of language. The script, co-written by Qurbani and playwright Enis Maci, pits Shakespearean verse against modern slang in a way that works more often than it doesn’t, lending the film a heightened quality that still feels rooted in its contemporary setting. The dialogue crackles with tension, particularly in Rashida’s verbal sparring with her loyal enforcer Mishal (Hiam Abbas), who raised Rashida from a young age, and Elisabet (Verena Altenberger), a cunning outsider who marries into the family but soon becomes a formidable opponent.
Visually, the film is a knockout — at least for its first two acts, where cinematographer Yoshi Heimrath crafts neon-lit spaces that emphasize the power struggles playing out in the shadows; a lengthy scene in an underground tomb is a particular highlight. But one of Qurbani’s most puzzling choices is the lack of real Berlin locations, which felt especially noticeable having recently seen The Light, which leverages numerous recognizable parts of the city. Instead, No Beast. So Fierce. opts for an increasingly abstract approach, which is effective early on, but becomes jarring in the third act, when the film retreats into a single, sparsely decorated location, draining it of the propulsive energy that made the first half so compelling.
This transition, coupled with the shift in performance style, proves to be the film’s biggest misstep. The final act abandons much of what made the film special, leaning into a minimalist, almost avant-garde aesthetic that feels completely at odds with what came before; it’s a bold choice, but one that saps the film of its magic. The heightened theatricality becomes stifling, and what felt at first like a gripping crime drama dissolves into an abstract meditation on power and madness. There’s also the issue of pacing: at a whopping 150 minutes, the film feels overstretched, particularly in its closing moments, where its momentum grinds to a halt.
No Beast. So Fierce. is commendable for the risks it takes, even if the payoff of those risks leaves something to be desired. Rashida’s journey is enthralling, thanks largely in part to the stellar work from Hmeidan, and the film’s exploration of female power in a hyper-masculine world is easily its strongest aspect. It’s just a shame that some of the late-game creative choices undermine its potential, as Qurbani was on the verge of something truly special.
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