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當(dāng)我們談?wù)摌涞臅r候簡介　

　　蘇利曼和“蘇丹電影俱樂部”的另外三名成員決定重振一家舊電影院。他們不僅因為對電影的熱愛和對恢復(fù)舊電影存量、再次關(guān)注蘇丹電影歷史的強烈渴望而團結(jié)在一起，而且因為他們都曾在流放中接受過電影教育。不知疲倦地，他們試圖讓影院老板站在他們一邊，讓這個地方重新運作起來，但他們一再發(fā)現(xiàn)自己遭到了相當(dāng)大的阻力。同時，他們坐在一起談?wù)撨^去——包括他們作為對立藝術(shù)家遭受迫害甚至折磨的經(jīng)歷。他們還朗讀流亡和夢想蘇丹時寫的舊信，在那里藝術(shù)和智力思想可以自由?！拔覀儽人麄兟斆鳎蝗缢麄儚姶?，”他們一致總結(jié)了他們的處境。正是在這些簡潔的時刻，觀眾才能夠感知到友誼，以及在為共同理想而斗爭中存在的紐帶和意識形態(tài)的團結(jié)。
　　蘇哈伊布·加斯梅爾巴里把蘇丹電影的歷史放在影片的中心，同時也揭示了一個受到持續(xù)危機影響的國家的現(xiàn)狀
　　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.