A makeshift family struggles with the challenges of daily life in the hope of finding a better future in this poignant debut from Somali filmmaker Mo Harawe, taking us beyond the usual sensationalist portrayal of his homeland.
A compelling narrative of one family’s survival in a sleepy Somali town. But it’s the devastating backdrop against which their drama plays out that lingers long after the credits roll.
The Village Next to Paradise 2024
In a country where your life could be suddenly terminated by an American drone and paramilitaries patrol every street, leading a normal, secure life seems a utopian delusion. Yet, in Somali-Austrian director Mo Harawe’s quietly stunning debut The Village Next to Paradise, a trio of characters negotiate their own way maybe not to paradise, but something close to it.
Mamargade is a middle-aged man who drives trucks carrying mysterious cargo and tries to keep away from trouble; his young son Cigaal shares his imaginative dreams with anyone who will listen; while Mamargade’s divorced sister Araweelo aspires to buy a sewing machine in order to gain her independence.
Plunging us into the everyday life of a Somali village with the ever-present sound of the desert wind, the waves lapping the seashore, the vividly colourful landscapes and fabrics, Harawe’s fond and tender labour of love retains a documentary like quality. His dispassionate and ethically conscious cinematic gaze draws audiences close to his characters, who pursue their simple goals with intent and dignity. Through this heartwarming gem of a film, Harawe bestows upon his characters and his country the priceless gift of hope. — Paolo Bertolin
“The film, which shot over three months in Somalia, has a striking visual literacy; a particular achievement given that most of the crew are newcomers. Egyptian DoP Mostafa El Kashef has a real eye for framing, often placing his characters at the edge of a wide shot which takes in the comforts of their home, or the rugged beauty of the landscape that surround them… There’s a strong sense of authorship in every scene, every decision, from Marmagade matter-of-fact yet sensitive approach to burying the dead to Araweelo’s quiet determination to best a system that she knows she cannot change. This may not be paradise in a traditional sense, but it is nevertheless a place of hope.” — Nikki Baughan, Screen Daily