International cinema truly shines when it presents cultures and issues from around the world that you might not usually come across. Promised Sky does precisely this, highlighting the struggles and racism faced by sub-Saharan Africans in Tunisia, a predominantly Arabic nation, and examining how these two cultures interact and coexist.
★★★☆☆
Set in a coastal city in Tunisia, three Ivorian migrant women live together while each faces her own challenges with their environment and culture. Marie (Aïssa Maïga) is a preacher for the ‘Church of Perseverance’; she endeavours to help her community as much as possible but has to contend with a landlord eager to evict her. Naney (Deborah Lobe Naney) is a hustler, trying to earn enough money to make a crossing to Europe while also being an absent parent to a child she had to leave behind in the Ivory Coast. Jolie is an engineering student, eager to move into her own accommodation and to progress with her studies. When orphaned child Kenza is brought to the home, believed to have been rescued from a failed boat crossing, she affects each of the three women’s lives in her own way.
Each of these women’s stories is impacted in some way by the racism that black people face in this city. They are berated and abused, randomly rounded up off the street and taken to a police station jail to have their visas checked. Those without visas are immediately deported without warning or care. It’s harrowing to see migrants treated in such a manner, and it’s an aspect of the political climate in Africa that you do not see in the news. Filmmaker Erige Sehiri handles these sensitive aspects well, presenting these situations authentically and naturally in real locations across Tunisian streets.
It’s implied that Marie is the main protagonist of the film, as evidenced by casting such a respected actress as Maïga in the role. However, it’s actually Naney who is the most interesting figure and who has the more compelling narrative. Since the character shares her name, and considering that it is her debut role, it makes Naney’s performance seem much more genuine. The struggles Naney faces to earn more money, her reaction to the FaceTime she has with a daughter growing up without her on the other side of the continent, and her witty line delivery that makes every line feel spontaneous; it all combines to create a stand-out performance that is head and shoulders above the other, more established actors.
Marie and Jolie’s stories are underdeveloped and less compelling. As a result, when the story centres on their lives, the film becomes much less interesting. A sole focus on Naney’s struggles to secure funds for a crossing would have been a far better and more engaging narrative; it seems likely that the character was emphasised more than planned during post-production, simply because the material was so good.
Sometimes, Tunisia looks stunning with the lush sandy beaches and the Mediterranean Sea shining in the sun. Then you reach the neglected inner city and witness the socioeconomic struggles some of its inhabitants face, with their homes falling apart because landlords refuse to repair them, knowing no one will complain for fear of being deported. It’s a stark snapshot of migrant life, but at the same time, these women find much joy and laughter despite their hardships, and their playful banter is entertaining in itself—and a show of perseverance and humanity in the face of adversity.
The Verdict
This drama effectively highlights the issues and melodrama of migrant life in Tunisia, but in telling the stories of the three women, it becomes stretched too thin. A sole focus on one character could have resulted in a more streamlined and engaging narrative.
Words by Jordon Searle
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