THE SPECTACLE Fiction by Bálint Kenyeres I France, Hungary

March, 2026

Fantas: An Act of Resistance Against Social Determinism

By Koumoutsi Soultana

The title of Halima Elkhatabi’s latest film, Fantas, carries a dual weight: it is both the name of a horse and the embodiment of a "fantasy" that forcefully erupts into the mundane reality of a working-class suburb. In this short film, honored with the Psaroloco Inclusion Award, Elkhatabi delivers an urban tale that refuses to submit to the rules of social predetermination.

Elkhatabi, a filmmaker whose vision was forged through the observational lens of documentary, brings a rare sense of authenticity to fiction cinema. Her narrative is not built on didacticism, but on the visual collision of two worlds that society has dictated should remain separate: the grace of a horse and the grit of a housing project. The protagonist, Tania, is not merely seeking an escape; she is claiming her right to be whole, bridging the fragments of her identity in a space that often perceives childhood freedom as something to be contained rather than nurtured.

Inspired by true events, the director utilizes Fantas as a surreal symbol of hope. Through her lens, the solidarity of the children is transformed into a "choreography of resistance" against authority, reminding us that dreams which feel "out of place" are often the only ones with the power to disrupt the status quo.

As Fantas arrives at the Psaroloco International Film Festival 2026, following a significant international journey, we explore with Elkhatabi the necessity of self-determination and why, in a world of mapped-out trajectories, holding onto one’s own "horse" remains the most vital political act of all.

Halima Elkhatabi

Halima Elkhatabi graduated from Institut National de l’Image et du Son of Montréal (INIS) where she received the Excellence Scholarchip, and started her career as a director and a writer for documentaries. She then scripted short fictions including, La barricade (2009), which won Best Short Film at the International Fantasia Film Festival 2011, the Cinema Pioneers Scholarship from Ciné-Québec and the Best Short Fiction film at the Festival international de cinéma jeunesse de Rimouski. In 2011, she was finalist of SODEC's Cours écrire ton court contest for her script, La roue. Fantas (2024) is her second short film of fiction as a director.

Tania seeks to bring together two parts of herself—her passion for horses and her life in a working-class neighborhood. Do you believe that for youth in such environments, pursuing a passion that seems "out of place" is a vital act of self-determination against social determinism?

Halima Elkhatabi: I deeply believe that for young people growing up in environments where everything seems already mapped out for them, pursuing a passion that hasn’t been made accessible to them is almost a political act. It’s not just a hobby, it’s also a way of saying: "I'm more than what society expects me to be". By bringing the horse into her neighborhood, Tania refuses a form of social determinism. She doesn’t separate parts of herself, she makes them coexist. And the tensions it creates reveal how certain dreams are considered illegitimate depending on your social background and reality.

“ Dreams that feel 'out of place' are the ones that open up new possibilities.”

— Halima Elkhatabi

There is a tense moment where the police question Tania’s ownership of the horse and move to seize it, with one officer even stating, "I hate children!". Did you want to highlight how urban public spaces can often become hostile toward the freedom and spontaneity of youth?

H.E: This scene is very important to me. The film is inspired by real events that took place in the Paris suburbs. In the real story, a young man had his horse confiscated by the police and never got it back. This situation reveals a constant suspicion toward certain youth, and a discomfort with their spontaneity. Urban public spaces, especially in these neighborhoods, often become spaces of control rather than spaces of freedom where childhood is sometimes perceived as something to be contained rather than nurtured. The line “I hate children!” was actually a spontaneous improvisation on set by the actor playing the police officer. I chose to keep it because it captures a rejection of the vitality, disorder, and freedom that children embody, as well as the powerful sense of solidarity that emerges from them. The police officer also says "They're an organized gang". For me, these words reveal the discrimination they face on a daily basis.

When the authorities intervene, Tania’s friends form a human shield, shouting "Block! Push!" to protect her and Fantas. How central is the concept of community and collective resistance in your narrative?

H.E: Solidarity plays a central role in the film. The moment when the kids form a block is not just an instinctive reaction, it’s a form of collective organization, almost like a playful choreography. What interested me was the ability to become one body in the face of an authority that isolates and weakens individuals. In many neighborhoods, community is an essential resource, sometimes the only real form of protection. This collective gesture, even if fragile and temporary, is a way of reclaiming power. It says: "we exist together, and together we resist".

Fantas is more than an animal; he is a surreal symbol of freedom. What message would you like to send to a young person who feels that their own "horse"—their dream—does not fit into the neighborhood or society they live in?

H.E: For me, Fantas is an apparition, almost like a mirage but one that is very real for Tania. To a young person who feels that their dream doesn’t fit where they live, I would say, maybe that’s exactly why it matters. Dreams that feel out of place are often the ones that open new possibilities. They disrupt expectations, shift perspectives, and create space where there seemed to be none. Of course, the path could be difficult but holding onto your "horse", even in a fragile way, means preserving an essential part of yourself. And sometimes, that alone is enough to slowly transform the world around you.

Trailer

Film aligned with the goals:

SDG 10 (Reduced Inequalities): By highlighting social determinism and the marginalization inherent in working-class neighborhoods, the film advocates for genuine social inclusion. Tania, by refusing to decouple her passion from her background, claims an equal right to dream, dismantling the stereotypes that deem certain aspirations "illegitimate" based on one's socio-economic status. SDG 16 (Peace, Justice, and Strong Institutions): Through its critical gaze on the policing of childhood and the control of urban public spaces, the work underscores the need for just institutions that protect the freedom of expression for youth. The scene of the horse’s attempted seizure reveals the "invisible violence" of systemic suspicion directed toward suburban youth. SDG 11 (Sustainable Cities and Communities): The film explores the vital relationship between residents and their urban environment. By transforming the neighborhood into a welcoming space for a "surreal" symbol like Fantas, the work promotes the vision of cities as inclusive hubs of vitality and collective action, rather than sterilized zones of surveillance and containment. SDG 4 (Quality Education): Through Psaroloco’s Media Literacy lens, the film fosters empathy and critical thinking in young audiences. It invites them to recognize the power of community (the "Block") as a tool for collective learning and resistance, while deconstructing prejudices regarding what is "attainable" to dream in a modern society.

MEDIA LITERACY INSIGHT

Why "Fantas" is a vital case study for our readers:

The Subversion of Social Determinism: The film acts as a powerful study on how media and society "map out" the futures of youth in working-class neighborhoods. It teaches young audiences to recognize and deconstruct the "invisible borders" that suggest certain dreams—symbolized by the horse—are illegitimate or "out of place" due to one's postal code.
The Cinematic Language of the "Urban Tale": By blending gritty realism with surreal elements (the apparition of the horse), Elkhatabi provides a masterclass in genre-bending. It demonstrates to students how cinema can use "magical realism" not as an escape from reality, but as a tool to reveal deeper truths about self-determination and freedom.
The "Block" as Collective Iconography: The scene where the children form a human shield is a vital lesson in visual storytelling. It illustrates how the camera can transform an instinctive reaction into a "choreography of resistance," showing how collective organization can empower individuals against an authority that seeks to isolate and weaken them.
Deconstructing Urban Hostility: In an era where public spaces are increasingly monitored, the film invites a critical discussion on the "policing of childhood." It challenges the audience to ask: When does a public space stop being a place of freedom and start being a zone of control? The improvised line "I hate children!" serves as a perfect entry point for discussing bias and the "criminalization" of youth vitality.