10/28

A newly formed family faces challenges as they pursue individual goals and navigate the complexities of modern life, relying on love, trust and resilience to guide them. Along a deserted beach in the wind and waves, a father and son, Mamargade and Cigaal, enjoy a bit of bliss in nature. Such precious moments are few and far between amid the many jobs, the drone strikes that bring death from above, the checkpoints and the payments for jobs that take months to materialize, if they materialize at all. In their simple, tiny house of cinder blocks and corrugated iron, the couple lives with Mamargade’s sister, Araweelo. Cigaal dreams of light. Araweelo dreams of making and selling her own clothes. As an unmarried woman, she can’t get a loan, so Araweelo devises a plan to circumvent regulation. The risks are immense. “All my life I’ve tried to make things better,” says Mamargade, “but I keep making mistakes.” When bad luck overshadows virtually every aspect of daily life, it is impossible to avoid “mistakes.” Yet the humble, hardworking trio never stops trying and hoping for luck, for their business, for time on the beach, for school funds, and for better days. The Village Next to Paradise premiered at Cannes. “It’s the first film shot on location in Somalia,” said director Mo Harawe, who attended this North American premiere screening at the Toronto International Film Festival. Harawe worked with the Paradise community to make the film and used non-professional actors. The investment in Somalia paid off in terms of the film’s authenticity. The ambient sound of music on the radio, traffic, waves, and wind also contributed to the film’s grounded nature. “The wind is a character,” said Harawe, “so the human characters are never alone.” The culture is a character, too, and I enjoyed immersing myself in the Somali songs, stories, and landscapes.

Agency 2024 X265 Neue