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(🌠) 苏利曼和“苏(🥇)丹电(📒)影俱乐部”的(de )另外三(🕟)名(míng )成员(yuán )决定(dìng )重(🤴)振一家旧电(diàn )影院(yuàn )。他们不(bú )(🍖)仅因(🏴)为(wéi )对电(diàn )影的热爱和(hé )(🌫)对(duì )恢复旧电影(yǐng )存(🏇)量、(📼)再次关注(⚫)苏丹电影历史的(🗄)强(🛍)烈渴(kě )望(🕯)而团(tuán )结(💆)在一起，而(ér )且因为他们都曾(🎿)在流(🥞)放中接(jiē )受过电影教育。不知疲(pí )倦(juàn )地(dì )(🐖)，他们试图让(🌙)影院老(🚣)板站在他们一边，让(🖲)这个地(dì )方重新(xīn )运作起来(lái )，但他们(📙)一再发(🐑)现(🏂)自己遭(🤸)到了相当大的(de )(🙉)阻力。同(⏰)时(shí )，他(tā )们坐在一(yī )起谈(🚻)论过去——包(bāo )(👺)括他们作(🎋)为对(duì )立(lì )艺术家遭受迫害(🌮)甚至(🗳)折磨的经(💝)历。他(tā )们(men )还朗读流(💍)亡(🚗)和梦(🦇)想苏丹(dān )时(shí )写的旧(⛏)信，在(zài )那(🤷)里艺术和智力思想可以自(zì )由。“我(🎥)们(men )比他们聪明，但不如他(tā )们强大(dà )，”他们一致总结了他们的(de )处境。正是(shì )在(🐖)这些简洁的时刻，观众(zhòng )才能够感知到友(😳)谊(👗)，以及在为共(🐂)同理想而斗(dòu )争(💅)中存在的纽带(dài )和意(yì )(😉)识形态的团结。
(🐈)苏哈伊布·加斯梅(🐌)尔巴里把苏丹电影的历史放(fàng )(🙅)在影片的中(zhōng )心，同时也(yě )揭示了(🍉)一个受到(🌒)持续(xù )危机(🏖)影响的国家的(de )现(xiàn )状
Suliman and three further members of the ‘Sudanese Film Club’ have decided to revive an old cinema. They are united not only by their love of cinema and their passionate desire to restore old film stock and draw attention to Sudanese film history once more, but also by the fact that they have all enjoyed a film education in exile. Tirelessly, they try to get the cinema’s owners on their side and make the place operational again, but repeatedly find themselves up against considerable resistance. In the meantime, they sit together and talk about the past – including their experiences of persecution and even torture as oppositional artists. They also read out old letters written while in exile and dream of a Sudan in which art and intellectual thought can be free. ‘We are smarter than them, but not as strong,’ is how they unanimously summarise their situation. It is in laconic moments such as these that the viewer is able to perceive the friendship, as well as the bond and ideological solidarity that exists in the struggle for common ideals.
Suhaib Gasmelbari puts the history of Sudanese cinema at the centre of his film and at the same time sheds light on the current situation in a country shaken by ongoing crises.
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