Fuga de Mogadíscio

South Korea's official entry to 2022's Oscars is a solid political thriller. It's mind blowing and intense. It's based on a beautiful interesting true story that delivers a great important message. Original score is amazing. Action and chasing scenes are awesome too.

Escape From Mogadishu is South Korea's Argo. Director Ryoo Seung-wan has masterfully told the dramatic story of the 1990 revolution in Somalia and the impact of the Diplomatic missions of North and South Korea. This Well Go USA release is based upon a series of real events that brought the rival diplomats of a formerly unified country together to save the lives of their women and children through a daring escape.

The film is set in 1990 Somalia as the South Korean government is attempting to garner the essential support of African nations for its bid to become a member of the United Nations. This task was made significantly more challenging due to the concerted efforts of the North Korean government to persuade African nations to block their entry.

Amidst all of the political wrangling between the two countries a brutal civil war breaks out in Somalia, endangering the lives of the diplomats of every nation that maintained a Diplomatic presence there. Black Hawk Down (2001), an American made, award winning film covered a later chapter of the same conflict, and its impact on the American Soldiers there.

The heart and strength of the film surrounds the need of the diplomats of the two separated Koreas to join forces to Escape from Mogadishu, Somalia's Capital city. In this effort, through the brilliant Directing, award worthy acting, and visually gripping cinematography we are immersed in the conflict between a deep seeded mistrust of two nations and the desire of individual human beings to protect their loved ones and fellow citizens. I am not sure how much of the details are true, but the film really shines a light on how easy it is to forget the problems between nations are just that, and even at the highest level of diplomacy, that without our humanity we are lost.

Escape from Mogadishu (2021) is as good a film as you will see this year. There is no shortage of action, nail biting drama, and emotionally gripping moments in this laudable film. While not set in the Shah deposed Iran of the 1970's, this film still reminded me of Argo, the 2021 Oscar winning Best Picture. Both were based on historically dramatic incidents where the filmmakers adeptly told their compelling stories through the experiences of the diplomatic survivors of these respective incidents. Both films are equally Oscar worthy.

Sadly, the film also painfully reminded me of the recent chaos in Kabul as diplomats and citizens attempted to flee Afghanistan, in the midst of its own regime toppling. While the images were starkly similar, the film was made well before the incidents of earlier this Summer; which, somehow, made its accuracy more shocking.

Kim Yoon-seok and Huh Joon-ho play the Somali ambassadors from South and North Korea, respectively. Their ability to convey the fear and mistrust the people of a, once united, country feel towards each other with subtlety and humanity is pivotal to the film's emotional depth. While this film is an action film about Somalia, it is more profoundly a film about the sad divide along the Korean Penninsula.

The entire ensemble cast of this film is praiseworthy; whether playing the North and South Korean Diplomats and their families, the Somalia government soldiers, or the key rebel soldiers. All are in top form and immerse the viewer in a world of chaos, fear , and confusion that is unmatched by the majority of films of the past decade. This entire is a first rate cast.

Escape from Mgadishu is subtitled.

For Taekwondo enthusiasts look out for a key fight scene as the movie kicks into high gear.

South Korea's Argo. While this film is an action film about Somalia, it is more profoundly a film about the sad divide along the Korean Penninsula. The entire ensemble cast of this film is praiseworthy. Whether playing the North and South Korean Diplomats and their families, the Somalia government soldiers, or the key rebel soldiers. All are in top form and immerse the viewer in a world of chaos, fear, and confusion that is unmatched by the majority of films of the past decade.

It is 1991, and Somalia is under the iron grip of President Barre's military junta. The good-humoured Han Shin-sung is the South Korean Ambassador, who is often at odds with his North Korean counterpart Rim Yong-su. Shin-sung has a meeting scheduled with President Barre, for which his recently arrived underling Kang Dae-jin has brought gifts from South Korea. However, en-route, they are robbed, missing the meeting. Shin-sung suspects Yong-su, though before he can investigate further, a violent civil war breaks out, forcing the North and South Korean diplomats and embassy staff to work together if any of them are to survive.

A tense thriller, Ryu Seung-wan's 'Escape from Mogadishu' is a powerful treatise about ideology and the human cost of war. Written by Seung-wan and Lee Ki-cheol, their narrative contends that ideological differences must be set-aside in certain situations in order to ensure the well-being of those involved. In the context of the film, the South and North Koreans understand they must transcend their cultural and political divisions- such as their contrasting views on democracy, communism and reunification- if they are to survive; an uneasy task, but one they strive to do nevertheless.

Conversely, the film also reveals the commonalities the two sides share, such as their language, history and humanity. Seung-wan and Ki-cheol's screenplay challenges the prejudices that the characters have about each other, showing acutely how these are gradually overcome through mutual understanding and respect. In this way, it offers a rare glimpse into the nuanced relationship between the two Koreas, which is often oversimplified or ignored by the mainstream media.

The representation of the Korean sides stands in contrast with the brutality of the Somali warlords and militias, who have no regard for the lives of their own people. While the Koreans want to ensure their peoples safety, the Somalis are portrayed as bloodthirsty bandits. Both Barre's men- and those engaging in the uprising- murder and loot with impunity. As the Koreans attempt to escape the barbarity, the true cost of warfare is revealed. It is not Barre, nor the leaders of the uprising, who suffer- it is the common man and woman in the street.

Choi Young-hwan's cinematography is rich in texture and highly realistic. His atmospheric utilisation of differing colours heightens the contrast between the South and North Koreans, as well as with the Somalis, while the variety of camera angles he employs compounds the films tension and drama. Moreover, his use of aerial footage adds perspective to proceedings, while his close ups and shaky camera movements bolsters the action and emotional impact of scenes. Similar in ways to Rodrigo Prieto's work on Ben Affleck's 'Argo,' Young-hwan's handling of the film's visuals is consistently impressive.

Bang Jun-seok's emotive score creates urgency and panic, complementing the narrative astutely; particularly in the last act. Furthermore, Kim Bo-mook's production design is immersive and evocative, making locations look both real and lived-in. Bo-mook's work also compounds the contrast between the South and North Koreans, as does Rabiaa N'Gadi's set decoration and Hyein Ki's art direction. Additionally, Chae Kyung-hwa's costume design is striking, adding to the personalities and cultural backgrounds of the characters.

Kim Yoon-seok stars as Shin-sung, opposite Huh Joon-ho as Yong-su and Zo In-sung as Dae-jin. Yoon-seok impresses greatly, bringing much warmth and depth to the role, making the character instantly likable. Joon-ho delivers a nuanced performance as Yong-su, showing the forbidden humanity of a North Korean government official subtly and with much tact. In-sung is similarly good as the sturdy Dae-jin, while supporting stars Koo Kyo-hwan, Kim So-jin and Kim Jae-hwa cannot be faulted.

In conclusion, Ryu Seung-wan's 'Escape from Mogadishu' is an exciting and poignant examination of ideology, within the context of a civil war not often portrayed in film. Its narrative is compelling and insightful, while the cinematography from Choi Young-hwan continually impresses. Boasting a fine score, detailed production and set design- as well as powerhouse performances from all in the cast- this is one film you'll never want to escape from.

It looked more like a documentary shot and recorded by a journalist and his camera man. I don't know how this Korean director did it, but it just blow my mind. The riot on the streets, the beatings, the killings, the storming assaults on those foreign embassies' buildings, it's just so top-notched directing. As to the Korean part, whether they played the roles from either side of the 30-octave north latitude, all well acted, albeit sometime had to be a bit of overly dramatic to show how people would have acted under extreme danger.

I don't care about some viewers' narrow-minded complaints, saying this movie was not made in Somali, all the people were not real Somalians. Well, why it should be made in Somali? Why you had to hire the REAL Somali actors or people to play those roles? If we shoot a movie about Nazi or Nazi Germany, do we have to hire REAL Nazis or it won't look real? This is a movie, okay? All I can say is that most part of this movie just looked so real, absolutely incredible and terrifying.