They Will Have to Kill Us First

It is a good documentary on political conflict on Northern Mali and the rise of Al Qaeda/Daesh aurhoritarian fundamentalist rule. The greatest merit is certainly the beautiful cinematography, which also is skilful to show us the country's beauties. However, the film's choice to highlight the musicians' suffering and reactions, as "Jihadists" imposed music prohibition, is its Achilles's heel. Although it is quite an interesting approach, I think it has not been made successfully. It sometimes looks like two movies together (a documentary on war and religious dictatorship and another one on musicians' exhile) instead of a single film. While it is an important is an important political doc, as a musical documentary, it is a weak one, that does not move or involve. The movie is also longer than it should be. Though, it is still good despite these flaws.

This is a wonderful documentary that focuses on Mali's rich music and considers the effects on it after the insurgents attacked Northern Mali in 2012. A Sharia law state was established by the insurgents in two of the main cities, Gao and Timbuktu, and one of their dictates was to ban music. Musicians fled and radio stations and live performances ceased. This film follows four of Mali's performing artists who escaped: the Songhoy Blues, Kharia Arby, Fadimata "Disco" Walet Oumar and Moussa Sidi. The Songhoy Blues and Kharia are from Mali's dominant social group; Disco and Moussa are Touareg. It was the latter group's desire for a separate territory that underpinned the 2012 insurgency. It is important that the film included representatives from both groups as each has suffered and continue to do so. They cling to their hopes for peace and the film's ending seems to conclude that music is an enabler of peace, may be the most important enabler.

The film's background is the musicians' accounts of what happened to them during the conflict; the foreground is their music and how it might promote change. What seems clear is how few of the Malian people want an Islamic state or the jihads in their country, who live still in parts of the Northern territory. This film is an important document therefore in showing another face of Muslims and of Africa itself because any easy and pejorative generalisations about either are challenged by what we are shown. It is hard to be unmoved by the plight of this country and her people and the wonderful music they produce. The moments when we see the artists performing, whether formally at a concert or in private, are amongst the best.

The film brings attention to the desire to rout the extremists out completely. This may not be so easy as a political attempt at reconciliation between the Touaregs and others in 2015 has not settled matters. But where politics fails, music might succeed.

The film will be playing film festivals and hopefully it will attract the attention of distributors. The Songhoy Blues are re-releasing the album, whose music they were creating, recording and performing in the film, next month. Go watch, listen and then buy the music.

Greetings again from the darkness. Where there is oppression, there is often courage. Director Johanna Schwartz and her film crew have produced a remarkably informative and well-made documentary. The film hits the target in putting on display the effects of the 2012 Islamic Jihadists invasion of northern Mali (Geo, Timbuktu) and the institution of Sharia Law.

Malian culture is steeped in music, which is used for education, entertainment and history. Radio stations were shuttered and musical instruments were burned. Many famous musicians escaped to Bamako and other areas rather than risk torture and execution. Director Schwartz interviews many of these musicians and we get defiant quotes such as "Our way of resisting is our instruments", and "We think of ourselves as ambassadors of our country." In other words, these musicians understand the cultural and political impact of continuing to make music. Their goal is to spread the message widely. We also see film of a refugee camp where women are staying strong in the face of adversity – hopeful of better days ahead.

2014 peace talks in Algeria led to an official cease fire in 2015, but most locals remain cautious. With the help of globally known performers such as Brian Eno and Nick Zimmer, a Gig for Exiled Musicians was organized for Timbuktu, and it allowed for re-visiting the village and the city – now mostly a bombed out shell. Many homes and historical sites in the ancient cities were destroyed by the terrorists.

These atrocities give that much more strength to the musicians, and we are especially taken by female singers Khaira and Disco, and the local band Songhoy Blues. The perspective of those most affected proves quite powerful, and is a reminder of just how strong the human spirit can be. It's a film that should be seen by many, and one director Schwartz should be quite proud.