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(👷)苏利曼(⛲)和(✒)“苏丹(dān )(📼)电影(yǐng )(🏽)俱(jù )乐(lè )部”的另外三名成(🛍)员决定重振一家旧电影院。他(tā )们不仅(jǐn )因(🏴)为(🗼)对(🐮)电影的(😧)热爱(📿)和对恢复旧电影(yǐng )存(cún )量(liàng )(♑)、再次(🚤)关注(⚫)苏丹(🕔)电影历(lì )史(shǐ )的(de )强(🛍)烈渴望(🕯)而团结在一起(🥄)，而且因(yīn )为他(🕌)们都(dōu )曾在流放中接受过电影教育。不知疲(pí )倦地，他们(men )试(⏺)图让影院老板站(🥁)在他们(🚨)一边，让这个地方重(chóng )新运(🌊)作起来(🥔)，但他(tā )们(men )一再发(🐑)现自(🙌)己遭到(dào )了相当大(dà )的阻力。同时，他(tā )(⛏)们(men )坐在(zài )一起谈论过去——包括他们作(zuò )为对立艺(🧟)术(shù )家遭受迫害甚至折磨的经历(lì )。他们还(🍑)朗读流(💍)亡和梦(🦇)想(xiǎng )苏丹时(shí )写的旧信，在那(🤷)里艺(🌪)术(shù )和智力(💹)思想可以自由。“我们比(bǐ )他们(men )聪明(míng )，但(⏲)不如他们强大，”他们一致总结了他们(men )(🚲)的处境。正是在这些简洁的时刻，观众才能(🎐)够感知到(dào )(🕕)友(yǒu )谊，以及在为共同理(🛃)想(⏺)而(ér )斗争(zhēng )中存在的纽带和(hé )意(yì )识形态的团结。
苏(sū )哈伊布·(💕)加斯梅尔巴里把(👼)苏(😲)丹(dān )电影的(✒)历(lì )史(🈸)放在影(🛌)片的中心(xīn )，同时(♊)也(yě )揭示了一个受到持(chí )续(🎆)危机影(yǐng )响的(de )国家(🏗)的现(😼)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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