‘Khartoum’ Review: Experimental Doc Poignantly Captures the Crisis in Sudan

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In April 2023, conflict broke out between Sudan’s military and the Rapid Support Forces, a paramilitary group formerly linked to the government. This intense battle exacerbated an already unstable nation’s troubles. Humanitarian organizations labeled Sudan’s crisis as the most severe globally, providing chilling data on its state: 11 million displaced individuals, 25 million facing hunger, and over half the population in urgent need of assistance.

Numbers may be practical, yet they can sometimes become monotonous as statistics fail to capture the subtle sorrows – the elements that add depth to lives. The filmmakers behind the profound documentary “Khartoum“, which portrays stories of survival and hope, seem to intuitively grasp this concept. Their movie, initially screened at Sundance and later at Berlin, is a reflective and innovative blend, concentrating on five Sudanese individuals who were compelled to leave Khartoum following the RSF soldiers’ invasion of the city. Directed by a collective of British and Sudanese directors, these participants narrate their stories with striking clarity about life before and as they approached war. They write and perform in brief scenes, striving to convey the magnitude of the trauma inflicted by this violence.

In much the same way as the anthology film titled “From Ground Zero,” produced by Palestinian artists in Gaza, the film “Khartoum” combines fictional and documentary elements to share inspiring tales about Sudan and its citizens. This approach mirrors that seen in Robert Greene’s “Procession” and Kaouther Ben Hania’s “Four Daughters,” where participatory filmmaking is utilized as a means of healing, offering another instance of this unique technique.

The city of Khartoum serves as a means to inform outsiders about the crisis in Sudan, yet it is also instrumental for those affected by the conflict. The most poignant scenes within the movie resonate deeply with Sudan, its people, and their destiny. The accounts shared by participants like Lokain and Wilson, children who scavenge bottles to survive, Jawad, a member of a resistance committee, Khadmallah, a single mother running a tea stall, and Majdi, a government employee, weave a tale of resilience and revolution. This narrative highlights the population’s struggle to define their identity while battling for lasting self-determination.

The film titled “Khartoum” features a creative team made up of four promising Sudanese directors – Anas Saeed, Rawia Alhag, Ibrahim Snoopy, and Timeea M. Ahmed, along with British director Phil Cox from the movie “The Bengali Detective“. The initial plot for this production was to portray life in Khartoum through the perspectives of five participants, but the sudden invasion by the RSF compelled them to flee to Kenya and adapt their strategy. Consequently, the finished film combines iPhone footage taken before the intense bombing in Khartoum with re-enactments and fantastical tales shot on a soundstage. The diverse quality of “Khartoum” reflects the challenges faced during its production.

Initially, each character shares their experiences when conflict erupted. Majdi narrates the intimidation he faced at the hands of RSF soldiers, whereas Lokain and Wilson recall hearing aircraft flying overhead and explosions. The children vividly describe dismembered bodies lying along roadsides; they remember seeing a man with no head and another whose face was severely burnt. Khadmallah recounts comforting her frightened child to sleep by singing, while Jawad discusses his conversation with his parents about the war ending within 15 days (it has been almost two years now). Later on, Jawad will discuss his involvement in helping transport injured protesters on his motorbike, and Majdi admits that the prospect of joining the revolution filled him with fear.

The narratives in Khartoum are bound together by shared themes of heartache and loss. Majdi recalls the happiness he felt socializing with loved ones at gatherings prior to the war, whereas Khadmallah laments the demise of her tea stall’s community. A scene shows her tea stall before it was destroyed by bombs, where people were engaged in discussions about politics, sharing news, and pondering over their desired future for their nation. As one individual passionately calls for a genuine revolution, others nod in understanding. These conversations provide a glimpse into Sudan’s past, helping to bridge the gap created by statistics, and remind us that true resistance always originates from the people. Through voiceover, Khadmallah contemplates the well-being of her regular customers, the neighbors who once sought solace in her tea and companionship.

As Khadmallah reminisces about her past, Lokain and Wilson ponder their upcoming plans. These two young friends, who met in the neighborhood and once shared a bicycle while picking up bottles, now stand as inseparable companions. At one point, Lokain affectionately remarks, “We’re best buddies,” accompanied by a bashful grin. The tender unease of their on-screen interactions serves to highlight their youth. Scenes depicting their life prior to the war reveal these children as resilient hustlers, valuing the trash and plastic bottles they collect as priceless treasures. A poignant scene unfolds where they recall how adults have mistreated and misjudged them, explaining the depth of their loyalty towards each other.

Besides forming an improvised family among themselves, young participants in this setting also discover a makeshift family with others involved. The film “Khartoum” serves not only as a process documentary but also as a tribute to healing and artistic exploration. It captures instances of filmmakers and subjects collaborating on which scenes to record and how their narratives should unfold. They also engage in prolonged discussions, collectively grappling with their nation’s truth.

Pivotal scenes show Lokain and Wilson questioning the adults about the origin of conflict. Majdi and Khadmallah’s responses shed light on the senseless logic that fuels war.

Despite portraying the harsh realities of the conflict, the film Khartoum consistently avoids hopelessness. The creators not only allow the characters to express their aspirations, but also bring these dreams to life through fantastical storytelling. In one such tale, Lokain and Wilson traverse Khartoum on a digitally created lion, discovering hidden treasures amidst the destruction. In this scenario, adults are depicted as foolish, while children are portrayed as kings. This future presents hope as the dominant force, where routines are no longer luxuries and fighting becomes unthinkable.

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2025-02-19 01:24