当我们谈\论树的时候

　　苏=利\ 曼和“苏丹电!影俱乐\;部”的另外三-!名成员,决定重振一家旧电影院[?。他们不仅因为对电影的热/爱和对*恢复旧电+_影存量]、再次关注苏丹电影历+ 史的强烈渴望,=\=而)团结在一起，而且因为他/们都曾在流放中.].接\受过电影教育。不; $知疲倦地，% 他们试图让影院老
板站在他们一边，让这个地方重新运\=作!起(-?*来，但他们_:一再发现:%自己遭到了相当大[的阻力。同时，他们?[坐在一 (起_ 谈论过去——包括他们作为对立艺术 家遭受迫害甚+ ^至折磨的经历。他们还朗读流.)亡?`\和梦[$想苏-.丹时\
写的旧信，在那:
$里艺术和$智,力思想可以[``自由。“我们? _比他们聪明，但+)不如+)他们强大，”他们一致$总结了他们的处境。/)正是! )在这些?__简洁]?的时刻，观众才能够感知到友.谊.(%^，以及在%为共同理想而斗争中存在的纽带和意识形态的团!%结。　　苏哈伊布·加斯梅尔巴里把苏丹电]$影的历史放在`影片的中心，同时也揭示了一个受到持续 ] 危机影;`%响的?国家的现状　　Su^)lim:^an and three furthe*r members of the ‘!_Sudanese /`/Film Club’ have #decid \@e#_d t;o revi,`+ve a n o !l d cinema. They^=: are uni.t@[ed n ot `only $by th+@#eir l:\ove of cinema and#* t-heir passionate desire t%^=o restore^ old fi!lm stock and draw at*!*te/ntion to Sudanese f i^lm hi stor+*y once m%or- \e,
]but also by th(\
e fact th at they have all enj`* oye@d a film edu[ cation in# e ,\xile[ . ,Tire lessly, ]%$they try to g, et the =)c: in!,[e# m!_:a’s owners on their sid
e /@_and make ^^:the place. oper*%ational again,)/ but repeatedly fin!d thems.;!el\+^ves up _against considerab%le .+)/resistance. In; t-$ he meantime, they si_t toge[
th_]er an! d t#alk about the pas^t – **including their exp,-eriences o
f pers*@ecution an d e+ven (]torture as op`positional artist_\!s. They al+!so r `!
ead.@ out[\@ ol*)d letters wr`%itten while in ex%(i _le and dream o-,f a [Sudan  in=) which ^:art a?nd intellectual thoug)ht # can be free. ‘We are smarter :th/:^an them, but not as strong,’ ,is how they un[anim^@.]ously summar*i`se ; thei;r situat]ion.`;! It is in l,]aconic^ mo?:+ment?s;- ?such a-%s t+hes/e th-at the\
viewer is able to per`ce\]ive the f`[[ riendship, ^a!

s well #a@s the +? bond and ide. ologica
,l so^lidarity t\\,hat exists in th
?^e struggle for co/`:mmon ideals$[/.　　Su haib Gasmelbari pu
@`ts the hi^%.stor;#y ;of Sudanese cinema !a t; the.*$ centre of hi s film and `at the same t$ime sheds light on the current - situ]?a:t$ ;ion ?in a *`@country sha=.ken by ongo,*ing crises.