Soudani has an eye for the visual. Cameraman and director of photography before turning to directing, he knows how to choose a frame that immediately does justice to its subject and elicits an emotion. In addition to this, is the film’s sensitive sound track, and a montage that, like a blues song, mixes life and death, the here and far, all of which results in a film that marks. It is not so much the dramatic and ordinary story of Demba that stays in our minds – of how he goes to join his brother Yaro in an immigrant hell in Italy, and how, two months later, he ends up trying to understand why he was murdered near the central station in Milan – but rather, unquestionably, the moments captured, the expressions in the Milan mist, the subway corridors and the hostile streets, the images of Africa that appear like a breath of air, the harshness and warmth of the group… Indeed, the film is neither Manichean nor linear: it unravels like a sincere blues piece, simply calling for a little more tolerance and friendship. And is completely convincing.
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