Ish: A vital coming-of-age story review

The summer holidays are meant to be a time for pure escape, but for Ish and his best friend Maram, freedom exists only in the brief moments between chasing sunlit roads and confronting the heavy realities of the world around them. Imran Perretta’s feature debut film, Ish, captures this tension perfectly: two young friends navigating a landscape where innocence collides violently with systemic prejudice and global conflict.

Their days are initially filled with the simple pleasures of boyhood—building secret dens in scrubland out of branches, gathering blackberries, and sharing giggles. Yet, beneath this veneer of carefree activity lies a profound pressure. As they look for summer diversions, Ish grapples with the recent loss of his mother, while Maram confronts the ongoing violence and occupation affecting Palestine and Gaza.

This personal grief merges seamlessly with external pressures. Growing up as non-white children in a British town, Ish and Maram quickly discover that their experiences are shaped by something far heavier than summer boredom. The simmering racism they encounter daily is not an abstract concept; it is a palpable reality that casts a long shadow over their childhood.

The film explores how this dual experience—the specific pain of personal loss and the larger, often ignored tragedies of global politics—shapes their relationship. While Ish and Maram might try to dismiss these weighty issues by watching TikToks and teasing each other, the world insists they cannot afford to ignore them.

The tension reaches a breaking point during a routine evening cycle home. When the boys are subjected to a police stop-and-search, the encounter shatters their fragile peace. While Ish manages to hide, Maram is taken into a police van. The resulting separation and subsequent trauma reveal the stark unfairness of institutional racism in the United Kingdom, highlighting how deeply prejudice affects those who are marginalized.

This event irrevocably alters the dynamic between the friends. Maram, reeling from the experience, withdraws, feeling betrayed by Ish for abandoning him. Meanwhile, Ish struggles with the sudden loss of his best mate and the unsettling atmosphere at home, where his sister must shoulder greater responsibility following their mother’s death.

Perretta demonstrates a remarkable ability to handle this sensitive material with compassion without condescension. His vision echoes masterful storytelling, positioning childhood not as an escape but as a crucible where complex identities are forged. The film is particularly striking for its nuanced portrayal of young Asian and Muslim men in England, reflecting the specific experience of navigating multiple layers of identity since the millennium.

The performances from Farhan Hasnat and Yahya Kitana are absolute masterclasses, lending authenticity and precocious vulnerability to their characters. Ish is not presented as a saint, but as a flawed, spirited child, perfectly capturing the complexity of growing up under duress. Ultimately, this is more than a story about two boys; it is a vital, empathetic portrait of how external hostility infiltrates the most cherished parts of a young life.