In the city of Port Sudan, located in eastern Sudan, life seems a little different from the atmosphere of conflict and war that grips the capital, Khartoum. Yet, Port Sudan is a city teeming with displaced people fleeing from conflict areas. It is from this vibrant yet challenging setting that the “Girls’ Cinema” project emerged. The initiative provides Sudanese women with an opportunity to express their crises and concerns through films aimed at transforming society for the better.
A Platform for Revival
A group of young women in the Red Sea State, situated in the far east of Sudan, has produced films using mobile phones, forming what is now known as Girls’ Cinema. The project organizes workshops in Port Sudan, covering screenwriting, cinematography, and narrative structure. Additionally, participants receive training on using mobile phones and professional cameras for filming.
In collaboration with the Fadi Film Group and with funding from U.S. aid, the project seeks to revive Sudanese cinema, particularly in the face of halted cultural and theatrical activities in the country.
Amplifying Marginalized Voices
The films produced by Girls’ Cinema reflect the harsh realities women face in Sudan after the war. They spotlight both difficult and inspiring human experiences, emphasizing the resilience of women who have adapted to challenging circumstances.
One example is the film I’m Here, which highlights the experiences of deaf women in eastern Sudan. Another notable production, Mother of the Poor (“Al-Masid”), sheds light on the roles of Sufi mosques in Sudan. These mosques, far from being solely religious spaces, serve as community centers offering education and aid to the poor and displaced.
Zainab Al-Fadil, the director of Mother of the Poor, explained, “The idea for the film came from my desire to portray the mosque not only as a religious Sufi community but as a civil society hub helping the poor and displaced in Port Sudan and across Sudan.” She added, “Even the displaced who arrived from conflict-affected states have integrated into mosque communities. Doctors among them organized treatment days for the needy. That’s where the idea for the film originated.”
Al-Fadil believes that focusing on smaller communities, like those of the deaf or Sufi lodges, can foster larger societal connections without relying on external social models. “These communities can serve as building blocks for a broader societal framework,” she noted.
Despite the enthusiasm surrounding Girls’ Cinema, the project faces significant challenges. Sudan’s film industry has long struggled with high production costs and a lack of government support. In Port Sudan, the filmmakers also contend with extreme weather conditions, with temperatures reaching 48 degrees Celsius and heavy rains during the fall season disrupting shoots.
Director Ithar Khairy recounted, “The hot weather affected our filming equipment, which we frequently had to cool with ice. This was a persistent challenge during production.”
Language barriers also presented obstacles during the making of I’m Here. “I’ve never worked with people with hearing disabilities before, and I don’t know sign language,” Khairy said. “We had to rely on translators, which was the biggest challenge for me.”
The project filmed at various locations in Port Sudan, including the Deaf Association, the Teknan Association, and the Al-Samaniya Mosque in Khor Al-Matraq. Spanning four months, the initiative was funded by U.S. aid and executed in partnership with Fawy Media Production Company.
Capturing Public Attention
The Girls’ Cinema project’s debut screenings garnered widespread admiration for their touching and realistic storytelling. The simplicity of using mobile phones, including the latest iPhone 15, added a layer of accessibility to the filmmaking process.
Audience members didn’t merely appreciate the stories; they also engaged in extensive discussions and dialogues on social platforms about the societal issues raised, such as women’s empowerment and the rights of marginalized groups. These films have sparked constructive debates about redefining the roles of women in Sudanese society, moving away from traditional and secondary portrayals.
One attendee, Roaa Ismail, shared her excitement about the initiative. “I was thrilled to hear about girls producing films that depict the realities of women in eastern Sudan after the war,” she said. I’m Here particularly resonated with her. “It reflected the story of a heroine who excelled in various roles—as a designer, an actress, and a mother. It showed the success of deaf women in eastern Sudan,” she added.
Hope for Cinematic Revival
Art critics and filmmakers present at the screenings emphasized that initiatives like Girls’ Cinema could play a vital role in reviving Sudan’s cinematic culture. The war has devastated the country’s theaters, cinemas, and film institutions. However, these grassroots efforts demonstrate the resilience of Sudanese artists and their determination to rebuild.
Girls’ Cinema stands as a testament to the power of storytelling in fostering social change. Through these films, Sudanese women are not only narrating their experiences but also paving the way for a renewed cinematic movement in the country.