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In living room of Yasmin Ali hangs a shelf. On top board, a picture frame with a lettering against a blue background is rejected. “Somalia” stands re. The shelf board underneath decorates anor word, sewn from white fabric: “Home”. It is not entirely clear how se two words relate to each or. Does home refer to Yasmin’s apartment in Bonn? Or Somalia, your far’s home?
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A seemingly harmless arrangement of home accessories, which is supposed to make a house cosy, proves inner conflict in cinema documentation global family. It is one of many casual, but even more powerful, images of a film that reveals a family drama layered around layer that spans continents and at same time poses question of culture, homeland and affiliation very fundamentally.
The so-called refugee crisis has been present at latest since 2015 in media, Daily Show sends messages about refugees, in talk rounds is talked about m. This is widespread journalistic approach to this subject, even in longer television reports: issues of Daily Politics are in foreground, journalists report, experts explain, emphasis is on German sensitivities. Seldom is spoken with fugitives mselves, ir individual fates and stories remain marginal notes.
This is different in documentaries with artistic aspirations, which have also been numerous in past three years and have mostly been performed as a cinema. The most famous was film Wildfire, with which Italian director Gianfranco Rosi 2016 won Golden Bear of Berlinale. In large image metaphors he models situation of people, inhabitants and refugees, 2015 on Lampedusa. Similar to image, Ai Weiwei, in human flow, tries flow movements of fled trace. Also taste of cement, a film essay by Syrian director Ziad Kalthoum, is an attempt to Gleichnishaftes misery that reigns in refugee camps in Beirut with some impressive images.
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Artistically less expressive, but closer to concrete destiny of an individual is documentary as Paul over sea came from Jakob Preuss. The German filmmaker concludes friendship with Cameroon-based Paul who, on his crossing with smugglers, experiences pure horror and finally ends up in Berlin with director’s parents.
Global family also works similarly. The film is debut of German duo Melanie Andernach and Andreas Köhler. Here too, proximity to protagonists is about artistic compaction – but it is precisely this proximity that makes film so moving.
Ali Ibrahim Shaash, Yasmin’s far, has been living in Germany since 1990. He was born in Somalia, where he was a well-known and esteemed man as captain of Somali national football team. Many in Somalia, he is still regarded as a symbol of a better time. Just before civil war broke out, Shaash was able to flee. He never arrived in Germany. He still dreams of returning to Somalia someday. “I feel pain every day,” says Shaash.
