(👷)苏利曼和“苏丹电影俱乐(🍩)部”的另外(wài )(😘)三名成员决(🕰)定重振一家旧(jiù )(🎗)电影院。他(🛤)们不(bú )仅因为对(🐮)电影的(de )热(rè )爱(ài )和对恢复(fù )旧电影存量、再次(🚤)关(🖲)注苏丹电影历史的(🗄)强烈渴望而团结(💆)在一起，而且因为(wéi )他们都曾在(🎫)流放中接受过(🙁)电影教育(yù )。不(🥀)知疲倦(juàn )(😱)地(🐖)，他们(💞)试图让影院(🧚)老(lǎo )板站在他们一边，让这个地方重(🌑)新运作起来，但他们(men )一再发(fā )现自己遭到了相当大的(🙉)阻力(lì )。同(tóng )时，他们坐在一起谈论过去——包(bāo )(👺)括他(🏯)们作(zuò )为(wéi )(🥕)对立艺术(shù )(🚴)家(jiā )遭受迫(🕯)害甚(shèn )至折磨的经(jīng )历(💹)。他们还(🍑)朗读(🛎)流(💍)亡和梦(mèng )想苏丹(➡)时(shí )写(xiě )的旧(⛏)信，在那里(lǐ )艺术和智(🚶)力思想可以自由。“我(🎥)们(men )比他们(men )聪(🔍)明(😙)，但不(bú )如他(tā )们强大，”他(tā )们一致(🐞)总结了他们的处(chù )境。正是在这(zhè )些(xiē )简洁(💣)的时刻，观众才(cái )能够感(gǎn )知(zhī )到友谊(👗)，以及在为(wéi )共同理想而斗(🧘)争中存在的纽带(💑)和意(yì )(😉)识形(🚩)态(tài )的(⛴)团结。
　　苏哈伊布·加斯(sī )梅尔(ěr )(🐱)巴(🖱)里把苏丹电影的(de )历(💨)史放在影(🛌)片的中心，同(🐇)时也揭示(shì )了(🍉)一个受到持(🎁)续危机影响的国(guó )家(🏗)的现状
　　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.
　　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.