(Goodbye Julia) is a Sudanese film that catches attention and wins awards in times of war… The film’s hero, Nizar Jumaa, in an interview:

Everyone hated the role I played, and I think I succeeded in embodying it

The film (Goodbye Julia) has public success in addition to critical success, as it was crowned with 14 awards, as it was shown in many Arab and European countries in a success that was added to its obtaining the Freedom Award at the Cannes Film Festival. It was also nominated to represent Sudan at the Academy Awards in the category of Best Non-fiction English speaking Film.
The film touches on a defining moment in the history of Sudan, especially with the conflict reaching its climax between the North and the South, with all the pain it brings, leading to the decision to divide the state. The events of the film take place in Khartoum before the secession of the South, and around Julia, whose origins belong to South Sudan but resides in the North, before the seperation.
A woman from northern Sudan named Mona and her husband, Akram, cause the death of Julia’s husband, and in an attempt to get rid of the guilt complex, Mona tries to help Julia and appoints her as her assistant.
The main roles in the film were played by theatrical actress and singer Iman Youssef, the Sudanese actor Nizar Jumaa, and the actress and model Siran Riak, while the direction was directed by Mohamed El-Kordfani.
In the following space, we interviewed actor Nizar Jumaa about the film and came up with the following statements.

Cairo – Muhammad Ismail

How were you chosen for the movie Goodbye Julia?

I found an advertisement in the media about previews of a movie that will be directed by a young director named Mohamed Kordofani and produced by director Amjad Abu Al-Ala. I searched for their works in the media and found two films. I waited for my turn in the previews and thank God I was chosen.

Where was the filming done?

Most of the scenes are in Khartoum, then one scene in the city of Kosti, White Nile State.

You said in a previous interview that the film is a realistic and contemporary film. What do you mean?

The film’s realism is the director’s choice influenced by the experience of Iranian director Ahmed Farhadi, and I think it is a successful choice because it distances us from the drama of feelings and emotions.
Director Kordofani relied on realistic cinematic language and used some signs and symbols that seemed traditional. All of this was to the benefit of the film. The best example of this is the scene of the birds in Mona’s house that are decided to be released. This sign reveals the desire of Mona, the wife in the film, her desire to gain her freedom.

In this movie, I played a racist and domineering person, everyone hated the character. What do you think?

The character Akram that I played in the film is a traditional character with its own customs and traditions. Cinema is a dangerous art because it sends messages to everyone. The character is complex, between the model of a racist person and a traditional Eastern person. I agree with you that everyone hated the role you played. I see this as a success for me. As an actor in embodying this complex and difficult character.

What are the most difficult scenes you faced while filming?

Most of the scenes are difficult for many reasons, but there were scenes that were very difficult, such as the divorce scene, the confrontation scene between Bakr and Mona at the end, and the scene of me getting slapped in the face by the southern man. The director asked us to make the beating real, and he actually hit me 6 times until it was filmed in the desired way. The scenes were difficult, even though they seemed simple when watching them, but they were exhausting.

Some believe that the film embodies racism between the North and the South. What do you think?

I heard this talk a lot from some of those who watched the film. We did not embody racism in the film in the sense of racism towards South Sudanese in the real way. We reflected a reality that was bad and much worse than what the work within the film embodied.

Did you expect this film to win so many awards?

Yes, I expected this because the film presented feelings of disintegration and racism, which leads to the loss of humanity. The film left an imprint on the world of Sudanese cinema.

Did the film face any difficulties or censorship problems?

On the contrary, we did not face any censorship problems because the filming came at a time of revolution, which gave us freedom to work on the division of the south and the north in Sudan boldly and without problems, because the official agencies at that time were busy with demonstrations and many problems in the Sudanese street.

You embodied the image of the traditional Eastern man. Were you afraid to present it?

Absolutely, he is a character that I think is present in many dramas, but what distinguishes the character he embodied, despite his racism, is a man who is jealous of his wife and the life she loves. He wants it for himself only, and on the other hand, he loves his country. He is just a man who wants to protect his religion and his country the way he sees it.
The character of Akram exists in Sudan and the Middle East. This character was exposed logically and thoughtfully. There are many examples of this personality and the dominance over women is part of our distorted structure from childhood, imbued with gender preference to protect the way of life and the continuity of unfair control. This is a natural product of a patriarchal society that is at the same time illogically racist.
True, I was afraid to present it, but cinema must address everyone with honesty. Art without honesty is meaningless. On the contrary, I was happy with the performance of Akram’s character because she represented different challenges.

There are some romantic scenes in the film, and due to the customs of Sudanese society, they do not allow them. Was the film able to break these barriers?

Cinema often works in the unspoken, and its message to humanity transcends many boundaries, and here the subject and writing make the viewer feel the truth of everything he sees.

Do you think that the film’s message is a call to preserve what remains of the homeland after the war?

Certainly one of the most important messages of working in cinema is to draw attention to humanitarian issues and to avoid falling into anything that harms our humanity.

The film was shown in many festivals in how many countries?

It was shown in many countries such as France, Germany, Australia, Britain, Brazil, Poland, America and Canada.

Finally, what are the most prominent dramatic milestones that you have performed?

I graduated from the Sudan Academy for Radio and Television Communication Sciences, and studied in the talent nurturing program at the Youth and Children’s Palace. I worked as a director and actor in theater and television. I participated as an actor in the play (My Sweetheart Plant) and the play (The Tragedy of Al-Hallaj) by Salah Abdel Sabour, and then (Sudanese Tales). I also directed a large number of works, such as (Al-Daiter Lamma Hebban) and a documentary film about the University of Khartoum.