p 　　苏利曼和 苏丹电影俱乐部”的别的三名成员决定重振一屋旧电影院 大屋不是于因为对电影的酷爱和对恢复古电影存量 再次存眷苏丹电影汗青的强烈巴看而连合在一路 并且因为大屋总曾在放逐中接管过电影教育 不知倦怠地 大屋试图让影院老板站在大屋一边 让这个处所从头运作起来 是于大屋几回再三发觉本身遭到了相昔时夜的阻力 此时 大屋坐在一路谈论畴昔——包含大屋作为对峙艺术屋蒙受毒害乃至熬煎的经历 大屋还朗读逃亡和胡想苏丹时写的旧信 在那边艺术和智力思惟可以自是 我们比大屋聪明 是于不如大屋强大年夜 ”大屋一致总结了大屋的处境 恰是在这些精练的时刻 不雅众才可以或许感知到友情 和在为配公道想而斗争中存在的纽带和意识形态的连合 br 　　苏哈伊布·加斯梅尔巴里把苏丹电影的汗青放在电影的中间 此时此时揭露了一个遭到延续为难影响的国度的近况 br 　　Suliman and three further members of the Sudanese Film Club’ have decided to revive an old cinema They are united not only by their love of cinema and their passionate desire to restore old film stock and draw attention to Sudanese film history once more, but also by the fact that they have all enjoyed a film education in exile Tirelessly, they try to get the cinema’s owners on their side and make the place operational again, but repeatedly find themselves up against considerable resistance In the meantime, they sit together and talk about the past – including their experiences of persecution and even torture as oppositional artists They also read out old letters written while in exile and dream of a Sudan in which art and intellectual thought can be free We are smarter than them, but not as strong,’ is how they unanimously summarise their situation It is in laconic moments such as these that the viewer is able to perceive the friendship, as well as the bond and ideological solidarity that exists in the struggle for common ideals br 　　Suhaib Gasmelbari puts the history of Sudanese cinema at the centre of his film and at the same time sheds light on the current situation in a country shaken by ongoing crises p