Fixed migratory drama for “Souleymane Story”
The title of the new movie from the French director and script writer Boris Login, “Sweiman’s Story”, has some intertwined meanings. In a broader sense, the film describes itself: This is the story of Souleymane (Abou Sangaré), an immigrant that is not documented by Guinea Conakry, who lives in Paris. Looking for asylum through the French Office for the Protection of Refugees and Persons who are insecure (Offra), It is the place where the second meaning of the title arises. Souleymane application requires a personal interview, and it is intended to tell a fabricated story about the circumstances that I sent abroad: that is, he was forced to flee from Guinea after his arrest and imprisonment for political activity. The source of this story is a man named Barry (Alpha Omar Sao), who coaches refugees like Sweiman to lie in their interviews for a sympathetic and dramatic influence, and even provides them with wrong documents that may support these lies.
When Souleymane is trained at his expense, in an early scene, Barry warns him for reading (often wearing) the wrong facts given. He says, “It should seem like the experience of your life,” he says. “Go to the details, because the details are calculated.” In calling the differences between a reasonable story and the “Souleymane story”, “Souleymane’s story” places itself from the challenge. After all, Lojkine, which he participated in writing with Delphine Agut, is in itself a carefully created imagination. It begins with a hypothesis around the clock-an interview with Souleymane in just two days-which is pressed, in general and effective, a set of personal conditions already. The great strength of the film depends completely on his persuading one moment to another, and on a set of narrative and aesthetic choices that, as presented-in a series of fast scenes, composed of the kinetic aspect, and editing them.
Details are everything here, and Lojkine is skilled skillfully, with our attention to our immersion in his arduous daily routine of the novel’s hero. Souleymane acts as an hourly device, and spends most of its days that the city intersects its bike, picks up and declines food delivery. (Login and its photographer, Tristan Galand, fired a lot of shots by chasing Sanjari on their bicycles). Since he cannot work legally, he uses a platform delivery account for another courier, Emmanuel (Emmanuel Yuvani), who takes the lion’s share of small Souleymane’s profits. On an average day, Souleymane may have to ride miles from its way to secure a personal image from Emmanuel, to bypass the integrated safety system for the platform. On a harsh evening, he may enter into an oral quarrel with one of the restaurants that keeps him a long time to get a request. Or he may come out of his bike, spoil delivery and increase the very important customer Emmanuel classification. Even the smallest setback exacerbation of a vicious circle of chaos and failure, which rarely ends when Sweileman goes to shelter without a shelter at night and finds himself still competing, not for delivery but for bed and shower.
The film clearly avoids the memories of the past of Soyman’s life in Guinea; Like any honest imagination, it does not pretend to give us more than a partial viewpoint of events. And these narrative conditions are bored towards the third and most essential meaning of the title, which relates to the true story of Suweim: the reality of his life until now, and the people and the places he left in seeking to achieve a better life abroad. We got some amazing ideas in these sacrifices, especially through SouleyMane phone calls in the homeland. He talks to his girlfriend, Kadiatou (Keita Diallo), who yearns to be with him again, but his patience is tested through the suggestion of another man to marry. Souleymane also tries to check regularly on his sick mother, whose condition, from the suppression of urgency and tenderness in his voice – is very important to the reasons for coming to France in the first place.
As a vision of its governing life, unabated, through the late non-sacred fusion of smartphones and human appetite applications-and also through non-smooth restrictions in Métro methods and bus tables-“Souleymane Drama’s” may be “Souleymane”. Mid -age delivery driver. But Lojkine, despite all its explicit strength, also has transient comfort, and displays it, mostly, with a wise lack of reflection or focus. There are restaurant workers, instead of screaming at Souleymane or brushing him aside, serving a smile, coffee, and a piece of candy. There is an older, old agent who accepts the gratitude of the pizza, and his need for physical help needs to sympathize Souleymane. Even there is an arbitrary mercy by a few policemen who notice that Souleymane uses another person’s account when they hand over their diet: they are mocking and harassing him, but they call him, very hungry for more inconvenience. This is hardly kind, but watching Lojkine now, like Ice Randing raids and violence sweep the United States, and it appears almost.
I am cautious about the critical motivation of praise for a movie on the basis of time, but the importance of “Souleymane’s Story” – which raises it and illuminates the obstacles faced by immigrants who are not documented all over the world – it cannot be denied either but also it cannot be implemented from the circumstances of the film’s creation. Sanjari migrated himself from Guinea as a teenager and never behaved on the screen before “Sweiman’s story”; Although the film is not a CV, it has occurred in interviews about the challenges of its first years in France, and how it is compatible with Souleymane. The delivery of a talented professional actor is almost a scarcity of films; It is one of the many decisions here that speaks to the indelible influence of the Belgian brothers, Jean-Pierre and Luke Darden, who excite the exciting and exciting excitement-between them from migratory drama “La Barrais” (1997) and “Tori and Lukita” (2023)-made them Haba with global cinema in the cinema from work. (Lojkine, like Dardennes, began his cinematic career in making documentaries, and his commitment to realism extended to his fictional works, starting from the 2014 feature, “Hope”, about two immigrants, one of them Nigeri and one of Cameroon, which made the anomalous journey across the desert towards Europe.)
One of the first things you notice about the performance of Sangaré is his huge body in the pedal: the actor, who pants while sewing his way through traffic in Paris, and is very anxious and will to work strongly. Slowly, though, a more vibrant feeling of Souleymane is a root. We refuse to his quiet attractiveness, good humor, and his initial rejection of insults or violations. We see how mainly it is, and therefore how it can be appropriate for moods to wander in the lies that, as Barry insists, alive to stay. As an actor, in short, Sangaré – who won the performance of European films, César, and a group of festivals – is an unusually expressive discovery. However, he announced his intention to continue working as a car mechanic, a job trained in teenager in Paris, but without his papers, he has not been able to do so far: earlier this year, after he rejected three requests to obtain a visa, Sanjari recently granted a one -year permit in France.
If the fate of the auspicious is waiting for its fictional counterpart is unclear. Lojkine cuts black before we can know that, but not even after a breathtaking sequence in which Souleymane is interviewed by fateful. The conversation is made before its name is not revealed Offra The agent, who played, with a quiet, amazing balance, by Nina Meris. While she was wondering about Souleymane, her eyes roam between his face and the computer screen because she writes his responses, we feel instinctively instinctively expressed and verified; The professional protocol restricts it from any direct expression of sympathy, but it also allows it to tell it, with complete sincerity, that it is there to listen to it alone. What it follows is the unusually continuous actors, and its climax – through the mutual modification of Sanjari pain, embarrassing, stopping birth and calm, calmness of Maris, in an amazing moment of moral and emotional clarity. In order for SouleyMane to survive so that this point does not require the end of deception and pressure, but in the end, even for only one moment, the truth is the truth that liberates it. ♦