Aboubakr Bansaihi, center, in Rebel (Yellow Veil Pictures)

Rebel, a musical tragedy set against the backdrop of war, is the latest feature by directors Adil El Arbi and Bilall Fallah, a duo known as Adil and Bilall. Unlike their work in Hollywood (Bad Boys for Life, starring Will Smith and Martin Lawrence), Rebel is much more personal, providing an introspective look into their world as Belgians of Arab descent. Their Shakesperean-esque tragedy, set in Belgium and war-torn Syria, depicts the Islamic State’s radicalization of young Muslims. Based on real events that occurred between 2013 and 2016, Rebel is equal parts gritty, sad, and surreal.

In his late twenties, Kamal (Aboubakr Bansaihi) leaves Belgium with the purpose of providing humanitarian aid to civilians affected by the Syrian Civil War. However, he is soon forced to join the Islamic State (ISIS) fighters at gunpoint. He goes on to become a cameraman, recording atrocities committed by ISIS. Meanwhile, back in Brussels, his 12-year-old brother Nassim (Amir El Arbi) is manipulated by recruiters for the Islamic State, who lure him with the promise of reuniting with his older brother. All the while, their mother, Leila (Lubna Azabal), desperately tries to protect Nassim from the same fate as his brother.

Adil and Bilall’s stylistic decision to merge the musical and thriller genres gives the movie a uniqueness not seen in conventional war films. The Arab and hip-hop inspired soundtracks are woven into the narrative, as well as dance performances. While not narratively coherent, these choreographed musical sequences explicitly convey a character’s state of mind, and are a contrast to the brutally realistic portrayal of war. They also create an effect of magical realism, leaving you wondering if the brothers are dreaming or hallucination.

Belgian cinematographer Robrecht Heyvaert (The Ardennes) juxtaposes the film’s look. The Syrian scenes feature predominantly yellow and brown color tones, along with wide shots of the desert landscapes similar to the old Hollywood Westerns. On the other hand, the Belgium scenes feel colder with blue and grey tones, highlighting Nassim’s isolation and longing to see his brother.

Kamal’s character is a rebel to the core. While in Belgium, he is a drug dealer who flees to Syria to avoid prison. During his time with ISIS, he rebels again, trying to escape with the Sunni woman who has been given to him by ISIS as his “wife,” Noor (Tara Abboud). The soundtrack is the directors’ own creative rebellion against ISIS, as the terrorist organization has forbidden listening to recorded music. When ISIS soldiers execute a music store owner, the moment marks a turning point: It is the first time Kamal shows signs of rebelling against the Islamic State.

However, the portrayal of women is problematic at times. Noor, a prisoner of ISIS forced to marry Kamal, falls in love with him. Additionally, before she is kidnapped and sexually assaulted, Noor sings a lament in a choreographed number that feels out of place and conflicts with the directors’ attempt at a realistic portrayal of women living in the Islamic State.

The movie is also reminiscent of Blood Diamond in portraying a family separated by war. There are similarities in both films’ depiction of child soldiers and how they are manipulated.

Stylistically unique, Rebel is not a feel-good movie by any means. The subject matter is disturbing, so prepare yourself accordingly.