‘Sophia’ review: Jessica Brown Findlay stars in Dhafer L’Abidine’s accessible Tunisian thriller

Dir/scr: Dhafer L’Abidine. Tunisia, UK. 2025. 117mins

The kidnapping of a young girl is the catalyst for a conventional but smoothly executed thriller. Sophia, the third feature from actor turned writer/director Dhafer L’Abidine (seen recently in Palestine 36) delivers enough intrigue, twists and strong arm tactics to satisfy lovers of Harlan Coben page turners and Liam Neeson vigilante yarns. L’Abidine’s profile could prove a theatrical draw in some territories but there is wider streaming potential in this Marrakech Gala world premiere.

A believable narrative that highlights the emotional stakes 

Sophia continues L’ Abidine’s interest in exile, longing and fatherhood that were evident in his debut feature Ghodwa (2021) and the follow-up To My Son (2023). Here, Emily (Jessica Brown Findlay, Downton Abbey) travels from London to Tunisia with her six-year-old daughter Sophia (Maya Celine El Gharbi) in the hopes of building a better relationship with the girl’s estranged father Hicham (L’Abidine), whose reputation precedes him. Emily’s wealthy, well-connected father Anthony (Jonathan Hyde) bitterly resents Hicham’s impact on their family. When we first see Hicham he is all sweat and swagger, teaching a boxing class at a gym.

Emily barely has time to unpack before Sophia is snatched from a local market. Police chief Isaam (Kais Setti) favours Hicham as the chief suspect and the stage is set for a race against time to find the girl as the fugitive Hicham tries to prove his innocence and Emily endures every parent’s worst nightmare.

L’Abidine’s screenplay does an effective job of creating a sense that Hicham might well be responsible for the kidnapping. Revelations along the way show that he has not been entirely honest with Emily ever since he was forced to leave Britain and return to Tunisia. Inevitably, there are so many signs of Hicham’s likely guilt that savvy audiences will realise that there has to be more going on. L’Abidine again effectively points the finger of suspicion at various supporting characters, including the police chief and even Emily’s stern, unforgiving father back in England.

Permanently dressed in a black t-shirt and blue jeans, a brawny L’ Abidine fits the bill of taciturn tough guy and outraged innocent, evoking echoes of Jason Statham or Charles Bronson in an earlier era. Brown Findlay’s Emily is all steely resolve and English reserve, holding back the emotions as she discovers her true outsider status in a country where she doesn’t speak the language and has few allies.

The setting of Tunis adds a freshness to some well-worn ingredients. Cinematographer Willie Nel captures the warm light and the sense of an unwelcoming city in the bustle of the crowded markets, labyrinth of narrow side streets and the urban sprawl of buildings twinkling in the dusk. It makes it feel as if Emily and the police are truly looking for a needle in a haystack. 

As writer/director, L’Abidine takes his task very seriously. He eschews the cheesy one-liners and far-fetched plotting of some modern thrillers to focus on creating a believable narrative that highlights the emotional stakes for everyone involved. On the edges of the central story, he does manage to incorporate some degree of modest commentary on  police corruption, injustice and the way poverty breeds fear and desperation.

L’Abidine’s fondness for close-ups in moments of confrontation adds to the intensity and he also proves adept at the requisite rooftop chases, fisticuffs and lucky escapes. The result is an efficient, workmanlike thriller that is easily accessible to mainstream audiences.