In the popular imagination, Somali women are viewed as passive, oppressed subjects, the hapless victims of their patriarchal culture and religion. Where they are visible, it is often through the iconography of the veil and female circumcision.
Lula Ali Ismaïl’s Dhalinyaro (Youth)—the first full-length feature film by a Djiboutian woman—is a radical departure from this corpus in depicting Somali girlhood in its full depth and complexity. Most importantly, it does this through depicting the mundane events of everyday life in Djibouti City. There are no wars here, or pirates, or terrorists, no young women escaping fathers, husbands, or the blade of a female elder, no white saviors ready for the rescue. What we see in Dhalinyaro is a coming of age story that shows Somali girls as they are.
The film’s storyline revolves around the final qualification examination for Djiboutian secondary students to enter university, the baccalaureate. The three main characters, Deka, Hibo, and Asma, are classmates at the Lycée de Djibouti but hail from markedly different class backgrounds. The Lycée space becomes one where the different segments of Djibouti’s population interact and form friendships, bonding over the shared ritual of studying for the baccalaureate. Yet, it is the question of higher education that renders class divides most explicit. For wealthy Hibo, who arrives at the Lycée each day in a chauffeured private car, there is no question that she will continue her education in Paris. Deka, who is securely middle class, is less certain, but with the funds saved up by her mother over a number of years, the idea of going to France for university is within the realm of the possible. Asma has no such choices available to her; poverty dictates that she must stay in Djibouti, unless she is among the few top students to receive a scholarship to study abroad.
The palpable burden of class difference saturates the film. One shot silently juxtaposes a well-dressed man at a cafe with a young boy on the street as he hands his shoes to the child to polish while drinking coffee. In another shot, women in wide-brimmed sun hats sweep the city streets at dusk to the sounds of ciyaar Soomaali, a traditional Somali folk dance. It is palpable in Asma’s hesitation to attend Hibo’s birthday party at the luxury Djibouti Palace Kempinski, and in the fuul bean stew her family eats at mealtimes, like the poor neighborhood children that come to Deka’s home for bread. When Hibo gets into an altercation with a group of schoolgirls outside of the Lycée, she disparages them as the “stupid Balabois”—residents of the impoverished Balbala suburb. An angered Asma, who tells her that she is “one of them,” accuses Hibo of believing that her wealth gives her more rights. Over the course of the film, Hibo’s character arc moves from a sheltered and careless rich girl to a more understanding and self-sufficient individual, a transformation made possible by honest friendships across difference.
The stunning cinematography with long shots of the sea and glimpses of the Port of Djibouti subtly signals the confluence and contradictions of global wealth and local poverty. This infrastructure of state capitalism—and, at the end of the film, the national radio broadcasting examination results—are the only glimpses of the state or politics in Dhalinyaro. Djibouti is among the most enduring dictatorships in Africa, ruled by an extended family since its independence from France in 1977. Its ruler, Ismaïl Omar Guelleh, is famously a patron of the arts and culture, and Lula Ali Ismaïl has described the support she received for the film from both the private sector and a government eager to develop the country’s nascent film industry. While one can wonder about the possible implications of this government hand for artistic freedom, Ismaïl’s decision not to engage formal politics explicitly is another subversive act of representation, given that the region is mired in images of political dysfunction. Ismaïl’s political critique is muted and indirect, but no less searing. It takes the form of a city-wide power outage that forces the “haves” to turn on their private generators and the “have-nots” to light lanterns; it is in the figure of the elderly veteran telling Deka the forgotten stories of Djiboutian soldiers who fought for France during the Second World War; it is, at the metalevel, what the film itself embodies in its very existence, in its very refusal to conform.
What Dhalinyaro foregrounds is female sociality and intimacy as it unravels the complex layers of contemporary Djiboutian life. The film has a decidedly female gaze, decentering maleness to the extent that most of the male characters in the film remain marginal and unnamed. Instead, it is the inner worlds of Somali women that are fleshed out in full, and with the immense care and tenderness of a Somali woman behind the camera. When Hibo has a miscarriage in a bathroom stall at school, it is the conservatively-dressed Asma who immediately removes her abaya to cover her friend’s blood-stained clothing, stating that “girls look out for each other.” They openly discuss sexuality and their relationships, the lively female banter reminiscent of the Somali riwaayad (play) and theater tradition that has pushed the envelope on notions of female morality and modesty in Somali society since the 1960s. Markers of Somali womanhood are interspersed throughout the film: the breezy dirac shiid worn as loungewear at home, the fragrant uunsi smoke used to perfume one’s household, clothing and hair, the huruud face masks made of turmeric to keep one’s skin soft.
At the heart of Dhalinyaro is the tension between visibility and invisibility in the desire for a particular kind of freedom. In an early scene, Deka, Hibo, and Asma quietly talk at their desks as their teacher—played by Lula Ali Ismaïl herself—explains the upcoming deadlines for students seeking to go abroad for university. “Think of the freedom!” Deka whispers to her friends, “no one holding you to account, no one looking at you and saying ‘you’re the daughter of so and so.’” These moments of recognition occur most often in their encounters with men. As the girls sit by the waterfront and jokingly evaluate the appearances of young men passing by, a man pauses and greets Hibo, telling her to say hello to her father for him. “There’s no getting away!” an exasperated Hibo tells her friends. In another scene, the searching glance of a male waiter at a restaurant where Deka is having an intimate dinner with the older married man she is seeing is enough to unsettle her and abruptly end the date. Yet, it is the same surveilling gaze—this time by women—that precipitates the end to the predatory relationship, after Deka’s mother hears about it. The communal nature of the Somali social world, while frustrating any notion of individual anonymity, fosters a sense of interdependence and female solidarity that uplifts the girls in times of need, as their friendship illustrates. Ultimately, Deka chooses this world by staying in Djibouti for university.
Ethnicity is conspicuously absent from the film. Djibouti, while dominated politically, culturally and demographically by Somalis, is a multi-ethnic country comprised of the Somali and Afar, as well as smaller communities of Arabs, Ethiopians and Europeans. That diversity is represented in the casting, with the three lead actresses themselves belonging to Djibouti’s different ethnic groups: one is Afar, one is Somali, and one is Arab Somali. Yet each plays a Somali character, in a Djibouti where only Somali people and culture appear to exist. However, there is some ambiguity to Hibo’s background that is not discernible to the non-Somali speaker and flattened by the limited subtitles. In the scene where Hibo is confronted on the schoolyard, a voice in the background, which does not make it into the subtitles, can be heard saying “the little Arab girl is being attacked!” in Somali. Her father, in other scenes, speaks one or two words of Arabic, albeit words that have entered the Somali lexicon. Asma and Deka’s households are completely immersed in their Somaliness, with illustrative scenes including Asma’s sisters playing jag on the veranda as their mother gives them advice using Somali proverbs, and Deka’s single mother listening to gabay poetry composed by a heartbroken Cilmi Boodhari. Hibo’s family, on the other hand, only speaks Somali at home when talking to their maid; they converse in French exclusively between themselves, listen to European classical music during formal dinners, and go to France for education. There is an unexamined politics of language and ethnicity yearning to be explored.
Dhalinyaro is a remarkable feat, particularly for a first full-length film by a self-taught filmmaker hailing from a country with a film industry still in its infancy. Though initially released in 2018, it has recently seen a surge in popularity when it was made available for free streaming as part of this year’s Cinewax Online African Film Festival, breaking OAFF streaming records. It is a beautiful film—a love letter to Somali girls—that deserves to be seen widely.
Shakir Essa 
