A newly formed family confronts challenges while pursuing individual goals and facing the intricacies of modern life, relying on love, trust, and resilience to guide them.
The Village Next to Paradise is a striking debut from Somali-Austrian director Mo Harawe, blending a haunting narrative with a poignant exploration of survival, resilience, and the quiet struggles of daily life in a small Somali village. At its core, the film is a character-driven drama that deftly examines the intersecting lives of a small family against the broader, often harsh, realities of contemporary Somalia.
The film opens with a disconcerting sequence: a news broadcast detailing a U.S. drone strike on a vehicle suspected of smuggling contraband in Somalia. The broadcast, complete with CGI graphics depicting the strike, is a deliberate choice by Harawe. It serves as a stark contrast to the complex, nuanced realities that unfold in the village of Paradise, where the story is set. The news report represents the oversimplified narratives often presented by Western media, which reduce intricate situations to soundbites and visuals, while the film itself digs into the layers of life that such coverage often overlooks.
The story centres on Mamargade (Ahmed Ali Farah), a man burdened with the responsibility of providing for his family in an environment where opportunities are scarce and survival often depends on making difficult, morally ambiguous decisions. Mamargade’s primary occupation is digging graves, a job that tragically reflects the grim reality of drone strikes and the ever-present spectre of death in his community. However, Mamargade is also involved in smuggling, and transporting illegal goods to the nearby city to make ends meet. This duality in his character—part solemn caretaker, part reluctant criminal—forms the backbone of the film’s exploration of morality and survival.
Mamargade shares his home with his sister Araweelo (Anab Ahmed Ibrahim), a woman who quietly defies the traditional expectations placed upon her by society. Araweelo is recently divorced, a fact that carries significant social stigma in her community. Her marriage ended due to her infertility, a situation that was compounded by her husband's request to take a second wife—a request Araweelo firmly rejected. This backstory is crucial to understanding her character, as it underscores her determination to live on her own terms, even in the face of societal pressures. Araweelo dreams of opening her own tailoring shop, a modest aspiration that represents her desire for independence and self-sufficiency.
The third key character in this makeshift family is Cigaal (Ahmed Mohamud Saleban), Mamargade’s young son, who brings a sense of innocence and hope to the film. Cigaal is a bright, curious boy who idolises his father and dreams of a land filled with sweets—a symbol of the simple joys he yearns for in a life overshadowed by hardship. Cigaal’s dreams and his close relationship with his father provide a poignant counterpoint to the harsh realities that Mamargade faces daily.
Harawe’s film is notable for its deliberate pacing and understated storytelling. The narrative unfolds slowly, reflecting the rhythms of life in the village, where change is gradual, and the weight of daily existence is felt in every scene. This pacing allows the film to delve deeply into its characters, giving the audience time to connect with their struggles and aspirations. However, this approach may also test the patience of some viewers, as the film’s tension builds slowly, and the major revelations are reserved for the later stages of the narrative.
Cinematographer Mostafa El Kashef deserves special mention for his work on the film. His use of framing and composition enhances the emotional impact of the story, often placing characters on the edges of the frame to visually represent their marginalised positions in society. One particularly memorable scene involves Cigaal covering his eyes as the victims of a drone strike are rushed into a hospital. The camera remains fixed on Cigaal’s reaction, allowing the sounds of chaos around him to underscore the emotional weight of the moment. This focus on character reactions, rather than the events themselves, is a hallmark of the film’s visual style and contributes to its overall impact.
The performances in The Village Next to Paradise are another highlight. Ahmed Ali Farah delivers a nuanced portrayal of Mamargade, capturing the character’s internal conflict and deep-seated sadness. His performance is characterised by a quiet intensity, with much of Mamargade’s emotional world conveyed through subtle expressions and body language rather than dialogue. Anab Ahmed Ibrahim as Araweelo is equally compelling, bringing a sense of quiet strength and resilience to her role. Araweelo’s character is a silent hero in the film, embodying the perseverance and determination needed to navigate the challenges of life in a patriarchal society. Ahmed Mohamud Saleban’s portrayal of Cigaal is also noteworthy, as he brings a natural, unaffected charm to the role that makes the character’s innocence and dreams all the more poignant.
Despite its many strengths, The Village Next to Paradise is not without its flaws. The film’s pacing, while effective in building atmosphere and character depth, can feel slow and meandering at times. Some viewers may find the narrative too subdued, with the stakes never fully reaching the level of tension that might be expected given the subject matter. Additionally, the performances, particularly from the non-professional actors, occasionally lack the polish that might be found in more seasoned casts. However, these minor shortcomings do not detract significantly from the film’s overall impact.
The Village Next to Paradise ultimately stands out as a powerful meditation on life in a part of the world that is often overlooked or misunderstood by the broader global audience. Harawe’s film challenges viewers to look beyond the headlines and simplistic narratives that dominate Western media, inviting them to engage with the complex realities faced by those living in conflict zones. It is a film that lingers in the mind long after the credits roll, not because of any dramatic twists or action-packed scenes, but because of its quiet, humanistic portrayal of life’s struggles and the resilience of the human spirit.
Mo Harawe’s debut is a haunting and thought-provoking piece of cinema that marks him as a director to watch in the years to come. Through its carefully crafted narrative, strong performances, and evocative cinematography, The Village Next to Paradise offers a glimpse into a world that is both distant and deeply familiar, reminding us of the shared humanity that connects us all.
The Village Next to Paradise is one of 105 films screening as part of the Whānau Mārama New Zealand International Film Festival (NZIFF)
The full programme of 2024 films is outlined here.
Tickets can be booked online at www.nziff.co.nz