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OHJAUS
Mohamed Kordofani

KÄSIKIRJOITUS
Mohamed Kordofani

ROOLEISSA
Eiman Yousif (Mona), Siran Riak (Julia), Nazar Goma (Akram), Ger Duany (Ager), Issraa Elkogali Häggström (Mona), Mohamed Abdelazim (James), Shamsaldeen Minto Abouti (Khamees), Motasim Abdelrazig Ahmed (Bakri), Omer Hassan Ahmed (Investigating Officer), Rammah Al Gadi (Studio Client)

KESTO
2 h 5 min

KIELI
orig.

TEKSTITYS
englanti

IMDB.COM

Goodbye Julia

Wadaean Julia

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Pohjoissudanilainen, vaikeassa avioliitossa sinnittelevä entinen laulaja Mona kärsii syyllisyydestä osallistuttuaan erään murhan peittelyyn. Hän yrittää korjata tilanteen palkkaamalla töihin vainajan eteläsudanilaisen lesken Julian ja ottamalla hänet poikansa Danielin kanssa kotiinsa asumaan. Mona ei pysty tunnustamaan tekoaan Julialle, vaan päättää jättää menneisyyden taakseen ja sopeutua uuteen tilanteeseen. Koko maan myllerrys on kuitenkin löytämässä tien hänen kotiinsa ja saattamassa Monan kasvotusten syntiensä kanssa.

Ensimmäinen Cannesin elokuvajuhlilla esitetty sudanilainen elokuva!
Vapaa pääsy! Ikäraja K16.
Elokuvan kesto 120 min. Englanninkielinen tekstitys.

Näytöstä järjestämässä Antirasistiset taiteilijat ART ry sekä finlandwithsudan -kollektiivi.

***

Wracked by guilt after covering up a murder, Mona, a northern Sudanese retired singer in a tense marriage, tries to make amends by taking in the deceased’s southern Sudanese widow, Julia, and her son, Daniel, into her home. Unable to confess her transgressions to Julia, Mona decides to leave the past behind and adjust to a new status quo, unaware that the country’s turmoil may find its way into her home and put her face to face with her sins.

First film from Sudan ever to be presented at the Cannes Film Festival!
Free admission! Age limit K16.
Duration of the film: 120 min. Original language with English subtitles.

Screening organized in collaboration with Antiracist artists ART ry and finlandwithsudan -collective.

***

Ohjaajan sana / Director's statement:

"The racism that was practiced for many decades from most Northern Arabs, government and people, was a major reason for the southerners choosing to secede. This was most evident when the results revealed a whopping %99 of Southerners wanted to separate. It is not possible for an entire people to choose secession for any other reason.

I realized then that I was somehow responsible for that decision, for all my life in Khartoum I had known no one from the south except for some domestic workers as if we had practiced social apartheid.

Writing this film was part of a continuous effort to get rid of that inherited racism, motivated by a sense of guilt and a desire for reconciliation and a call for it, even if it seems late.

Reconciliation is not only necessary with Southerners, but we need it as a national project to preserve what is left of Sudan and to build a new national identity that is proud of the values of humanity, coexistence, and justice instead of race, tribe, and gender.

Additionally, my duty as an artist made it imperative for me to document history from a societal angle rather than political narratives, in which the picture alone is not complete.

GOODBYE JULIA is a difficult journey through the collective memory of Sudanese and South Sudanese peoples that deals with the normal everyday living of two women linked together by unusual social and political situations that impacted them greatly. Its narrative is inspired by the stages of reconciliation, and it discusses themes such as remorse, compensation, disclosure, confession of guilt, and repentance for it.

The film examined the dynamics of the complicated interaction between northerners and southerners, as well as the conflict between progressivism and conservatism, in its models, and addresses the process of change that we must go through in order to reconcile and heal as people and as a society.

The film was also quite challenging to make, as we had to contend with a military coup and non-stop protests as well as the lack of infrastructure. But at the same time, this revolution is trying to change concepts first before changing the regime, which makes the timing ideal for showing the film not only to the Sudanese audience but to the entire world, as many societies of all kinds are suffering in one way or another from the absence of justice and the problems of coexistence and polarization."

- Mohamed Kordofani

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