A rare film from Sudan, this fascinating parable has a powerful political and religious dimension.

Joyce Glasser Review Thou shalt die at the age of twenty (November 12, 2021) Certificate 12A, 104 minutes.

The Sudanese writer and director Amjad Abu Arara’s film begins with a buzzard biting a sweltering desert camel carcass, with a more entertaining procession in the background. We see the equivalent of a baptismal procession that represents the cycle of birth, life and death in the religions of the Sufist region. But for his mother Sakina (Islamic Mubarak), his father Arnour (Talal Affifi), and his baby Mubarak, named after the Prophet, there is only death. At the age of 20, the hallucinatory monk collapses and the boy’s fate is sealed as Sakina approaches Sheikh to congratulate the only child in a noisy ritual.

He spent much of his life in Dubai, but 37-year-old Abu Arara only knew of Albasir’s oppressive dictatorship and found his film in Sudan as an exit for his creativity and means. Escape from the government’s hanging for five years as a formal teenager.

Albasir, who hosted Osama bin Laden in Sudan and was charged by the International Criminal Court for the massacre in Darfur, is an elephant in the room here. This powerful parable, based on a banned short story, Sleep at the foot of the mountain It marks a promising debut feature from Abu Arara by the late Hammour Ziada, but suffers from the pace and tension of its dramatic story.

Living under the signs of death has an early effect on Musamir (shining angelic moata semrushed). Muzamil’s mother, a seamstress, marks the earthen wall of the conical bedroom to show the fate of her son. When Arnour admits that he has no power to deal with Sakina, Musamil soon loses his father. He has been looking for a job in Addis Ababa for 19 years and has been sending money home at every point since then. A defeated mother who grew up without a father gets worse when Muzamil is bullied by children in a village called the “son of death.” His mother is unlikely to make friends because it doesn’t make sense to send him to school.

Muzamil’s only companion is Naima (Asjad Mohamed), who grows up to be a childhood friend, positive and lovely teenager (Bonna Calid) and becomes aggressive enough to tell Muzamil that he loves him. increase. She warns the shy boy that her family wants to marry her to another person. She tells Musamil about raising a family on the banks of the Nile. He is a river afraid of his uncle drowning, but the metaphorical meaning is clear.

Sakira was eventually persuaded by Iman to send Muzamil to school, where his education was limited to reciting the Koran in two dialects and learning to recite it. The audience may be thinking about how the Afghan curriculum is similarly restricted by the new Taliban government. Musamil (now played by Mustafa Sheherta) works in a village store with his “school education”.

Not only is Muzamil his father, he meets his true teacher, a man, while delivering secret items from the store. “Foreigner” Slyman (Mahmud Al-Saray) traveled the world as a photographer and filmmaker and retired in the village with a female companion due to poor health.

Muzamiru is fed up with discovering that the secret package is alcohol, but is intrigued by strangers and his revisit becomes longer and longer. Slyman teaches Muzamil’s basic mathematics (he can count age on a wall of soil), operates a film camera and projector, and shows him the world through images. Watch a clip of the Jadala Jubara movie of Western-dressed people dancing at a club in Khartoum, shot before the 1989 Albasir military coup.

Adult Musamil, played by Mustafa Sheherta, was unable to convey his thoughts on discovering the world beyond the village to the audience, and Abu Arara, who wrote the script with Youssef Ibrahim, said: Doesn’t help him by providing more than a short scene to capture his experience. The determination to experience sex and become a man before Muzamil dies is more disturbing than the fluttering of an innocent boy, and if their argument includes this rite of passage, he may have learned from Slyman. It doesn’t seem to match what you can’t do.

The film is an accusation of the oppressive powers of religion and culture, in this case by a political system that uses religions such as the Catholic Church of the Middle Ages to bring large numbers of people under control and deprive them of free will and opportunity. Beyond their pre-determined stations that are being expanded. Al-Bashir’s rule over the people is not only on religion, but also on the Internet, fake news, horror, and Vladimirputin and other leaders who seek to eliminate political opposition to manipulate millions of people. similar.

A rare film from Sudan, this fascinating parable has a powerful political and religious dimension.

Source link A rare film from Sudan, this fascinating parable has a powerful political and religious dimension.

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