The Tree of Life

About the production

Filmed during a challenging period in Somalia's history, just before the collapse of the central government. The production faced significant logistical challenges due to the remote desert locations and limited infrastructure. The film was created with minimal resources, relying heavily on natural lighting and local talent. Director Abdulkadir Ahmed Said utilized non-professional actors from nomadic communities to ensure authenticity in the portrayal of traditional Somali life.

Themes

Themes & topics

Historical background

Independent short from Hong Kong/Asian festival circuit exploring ecological allegory.

Why this film matters

The Tree of Life represents a crucial document of Somali cinematic heritage and stands as important African films of its era. Its allegorical approach to environmental issues placed it ahead of its time in global cinema's engagement with ecological themes. The film successfully blended traditional Somali storytelling techniques with contemporary cinematic language, creating a bridge between ancient oral traditions and modern film art. Its international festival success helped establish Somali cinema on the world stage and inspired a generation of African filmmakers to address environmental and social issues through allegorical narratives. The film's survival through Somalia's decades of conflict makes it a symbol of cultural resilience and the enduring power of art to transcend political upheaval.

Making of

The production of 'The Tree of Life' took place during what would prove to be the final years of Somalia's stable government period. Director Abdulkadir Ahmed Said, who had studied filmmaking abroad, returned to Somalia with the vision of creating films that would preserve and celebrate Somali culture while addressing contemporary issues. The casting process involved traveling to remote nomadic communities to find authentic faces and performances. The film crew faced extreme weather conditions, including temperatures that could exceed 40°C during the day and drop dramatically at night. Equipment had to be transported by camel caravan to some locations. The director insisted on using natural light for most scenes to capture the authentic beauty and harshness of the Somali landscape. Post-production was completed in limited facilities in Mogadishu, with some work sent to Italy for final processing.

What critics said

Limited distribution; festival programmers noted visual starkness.

Did you know?

• is one of the few surviving examples of Somali cinema from the 1980s, a period considered the golden age of Somali filmmaking
• Director Abdulkadir Ahmed Said is considered a pioneer of Somali cinema and one of the country's most important filmmakers
• The film uses minimal dialogue, relying instead on visual storytelling and allegory to convey its environmental message
• Many of the film's scenes were shot in actual Somali desert locations without artificial sets or special effects
• The Tree of Life concept draws from both Somali oral traditions and universal mythological themes
• The film was screened at several international film festivals, helping bring African cinema to global audiences
• Hasan Elmi Kori Sabrie, the lead actor, was not a professional actor but was discovered by the director in a nomadic community
• The film's environmental themes were particularly prescient, predating widespread global awareness of desertification issues
• Due to Somalia's subsequent civil war, many copies of were lost, making surviving prints extremely valuable
• The film's score incorporates traditional Somali musical instruments and folk melodies

Awards & recognition

• Best Director at the FESPACO Film Festival (1989)
• Special Jury Prize at the Carthage Film Festival (1989)
• Best African Film at the Milan African Film Festival (1990)

Visual style

The cinematography of 'The Tree of Life' is characterized by its sweeping desert landscapes and intimate character moments. Director of Photography Ahmed Ali Hassan utilized natural light to capture the dramatic contrasts of the Somali environment, from the harsh brightness of midday to the golden glow of sunrise and sunset. The camera work emphasizes both the vastness of the desert and the smallness of human figures within it, reinforcing the film's themes of humanity's relationship with nature. Long takes and minimal camera movement create a meditative quality that mirrors the rhythm of nomadic life. The visual progression from a world teeming with life to a barren wasteland is achieved through subtle changes in color palette and composition rather than obvious special effects.

Innovations

Despite limited resources and challenging production conditions, the film achieved remarkable technical accomplishments. The production team successfully captured the dramatic transformation from a living landscape to a dead desert using primarily practical effects and clever cinematography rather than post-production manipulation. The film's sound design, which had to record clear dialogue and natural sounds in often windy desert conditions, represents an impressive technical achievement. The seamless integration of professional and non-professional actors created authentic performances while maintaining narrative coherence. The preservation of the film through decades of conflict and instability stands as proof of the technical quality of its original production.

Music

The film's score was composed by Mohamed Suleiman, who incorporated traditional Somali instruments including the oud, drums, and flutes. The music blends authentic Somali folk melodies with contemporary cinematic techniques to create a sound that is both timeless and immediate. The soundtrack features minimal dialogue, with much of the storytelling carried through music and natural sounds of the desert. The score evolves from rich, layered compositions representing a world in harmony to sparse, haunting melodies that accompany the desolate landscape. Traditional Somali songs performed by nomadic communities are woven into the soundtrack, adding cultural authenticity and emotional depth to key scenes.

Famous quotes

When the last tree falls, the sky will fall with it - Nomadic proverb quoted in the film

I did not know that one tree could hold the weight of the world - The protagonist's realization

To save one small tree is to save all of humanity - The film's concluding message

Memorable scenes

• The devastating moment when the Tree of Life falls, captured in slow motion with dust and leaves swirling around the shocked nomad
• The protagonist's journey through the transformed desert, emphasizing the stark contrast between the living world he knew and the wasteland he created
• The final scene where the nomad carefully waters and protects the small sapling, representing hope and redemption
• The opening sequence showing the vibrant life surrounding the Tree of Life, establishing what will be lost

What audiences thought

The film resonated strongly with Somali audiences, who recognized the authenticity of its portrayal of nomadic life and the importance of its environmental message. International festival audiences were deeply moved by its visual beauty and universal themes. The film developed a cult following among African cinema enthusiasts and environmental film advocates. Despite limited distribution due to the subsequent collapse of Somalia's film industry, those who have seen it often describe it as a transformative viewing experience. The film's message has become even more relevant over time, with new audiences discovering it through retrospectives and African cinema presents.

Film connections

Influenced by

• Traditional Somali oral narratives and folklore
• African allegorical cinema tradition
• Visual storytelling techniques of silent film era
• Environmental documentary aesthetics
• Mythological storytelling structures

This film influenced

• Subsequent Somali environmental films
• African allegorical cinema of the 1990s
• International films addressing desertification
• Documentary films about climate change in Africa

Film restoration

The film is considered partially preserved with limited surviving prints. Due to the collapse of Somalia's film infrastructure and subsequent civil war, many copies were lost or destroyed. However, several prints survived through international archives and festival collections. The film has been partially restored by African film preservation initiatives, though complete restoration remains challenging due to the limited availability of original materials. The surviving prints are considered invaluable cultural artifacts and are housed in various international film archives including the Cinémathèque Afrique in Paris.

Where to watch

• Available through specialized African film collections and university libraries
• Occasionally screened at African film festivals and retrospectives
• Accessible through some international film archive streaming services
• Limited availability through educational film distribution services specializing in African cinema