当我们谈论树的时候

　　苏利曼(⛲)和“苏丹电影俱(🐌)乐部”的(de )另外(wài )(😘)三名成(chéng )(🛍)员决定重振(zhèn )一家(🔧)旧电影(yǐng )院。他们不仅因为(wéi )对(🐮)电影的(😧)热爱和对(👋)恢复旧电影存量、再次关(🖲)注苏丹电(diàn )(🔸)影历史的强烈渴望而团结(jié )在(✳)一起，而(🚉)且因为他们都曾在流放中接(jiē )(🍮)受过(🙁)电(😻)影教育(🚑)。不知(zhī )疲倦地，他们(💞)试图让影院老(🚣)板站在他们(men )一边，让这个地方重新运作起来，但他们一再(zài )发现(🏂)自己遭(🤸)到了相当大的阻力。同时，他们(men )(🥫)坐(zuò )在一起谈论过(guò )去——包括(⛳)他(tā )们作为对立艺术家(jiā )遭(🤖)受(⚾)迫害(🌮)甚(👣)至折磨的经(jīng )历。他们还(hái )朗(lǎng )读(🛎)流亡(🚗)和梦想(xiǎng )苏丹(➡)时(shí )写的(de )旧信(🐨)，在那(nà )里(lǐ )(🃏)艺(yì )术和智力思想(xiǎng )可(kě )以自由。“我们比他(tā )们聪明，但不如(rú )他们强(qiáng )大，”他(♌)们一(yī )致总(🍽)结(jié )了他们的处境。正(zhèng )是在(zài )这些简洁(💣)的时刻(🌸)，观(⏳)众(zhòng )才(cái )能够感(gǎn )(🔲)知到(dào )友(yǒu )谊(👗)，以及在为共同理想而(👩)斗争中存(❓)在(📬)的(de )纽带和(hé )(🎴)意(😉)识形态的(⛴)团结。
　　苏哈伊布(bù )·加(jiā )斯梅尔巴里把苏丹(dān )电(diàn )影的(✒)历史放在影片的中心，同(tóng )时也揭示了(🍉)一个受(🐣)到(dào )持续危机影响的国(🕌)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.