Over the past few weeks, we’ve watched all the films in the Open Eyes category, which dealt with topics such as family, identity, racism, migration, and violence. We’ve had many long discussions, pondered, reflected, and analyzed. But we were only able to do that because each film was special, left a lasting impression, and often evoked strong emotions. We thank all the filmmakers for that. Still, one film in particular has stayed with us the most.

“The film offers us a unique glimpse into a reality that cinema rarely explores. It bestows upon its characters the dignity and humanity that the daily media barrage and politics deny them.”

– a quote from Trigon Film

These words capture the full power of Souleymane’s story.

Souleymane’s story takes us deep into the life of a young man who flees Guinea for France to fight for his place in the world—not as a victim, but as a person who acts, feels, doubts, and hopes. This film explores the invisibility of those whose existence depends on temporary residence permits, documents, and the decisions of others.

Souleymans Geschichte führt uns tief in das Leben eines jungen Mannes, der aus Guinea nach Frankreich flieht, um sich seinen Platz in der Welt zu erkämpfen – nicht als Opfer, sondern als Mensch, der handelt, fühlt, zweifelt und hofft. Dieser Film beleuchtet die Unsichtbarkeit jener Menschen, deren Existenz von befristeten Aufenthaltsgenehmigungen, Dokumenten und den Entscheidungen anderer abhängt.

Boris Lojkine manages not to explain this reality, but to make it tangible. And that is precisely what makes Souleymane’s story so important and so profoundly human. He reminds us that humanity is not a privilege, but a right.

One thing that made the film stand out in particular was the variety of human rights that were depicted or violated. Souleymane’s story gives us a glimpse into what it’s like to be homeless and how it might feel to be discriminated against. The film shows us that racism and exploitation are part of everyday life for many people. Souleymane’s asylum process also highlights the fact that it is not a simple or pleasant experience; one cannot live in another part of the world without missing what is important to them, and yet the fear of returning to a place where one must fear for one’s life is always present. These harrowing realities were driven home to us time and again.
For example (in the scenes) when Souleymann has to make a phone call right after waking up to find a place to sleep for the night; when it becomes clear that working illegally is his only way to stay afloat because he doesn’t have a residence permit; when he has to separate from his family and his partner because he can no longer be a part of their lives.

When we think of the film, we don’t just think of a movie that draws attention to important issues, but one that draws us in—right into the heart of the action. Even the music was an experience in itself: authentic, realistic, and with a gripping energy that carried every scene. You could sense that it wasn’t merely background music, but a driving force that made the action even more tangible.

The camerawork really emphasized that. It didn’t leave us, the audience, on the outside; instead, it drew us in during every single scene, so that we always felt like we had an exclusive view of the lead actor’s facial expressions and gestures. We weren’t just observers—somehow, we were part of the story. And that, we felt, is a great art.

The tension remained palpable throughout the entire film. There was hardly a moment when the intensity really let up. And when it did—for example, in the scenes at the homeless shelter—it was precisely those brief moments of respite that kept the film from feeling stressful and breathless. It’s a story that touches the heart because it’s so real. And it’s not an isolated case.

As for the lead actor himself, I can only say this: He played this role—this incredibly strong yet vulnerable protagonist—with a depth that truly moves you. You could feel his strength, but also his fear and his fragility, which he tried to mask with a neutral expression. Generally speaking, it is a very interesting and gripping film that uses Souleyman’s story to illustrate one of many cases and draw attention to the issue of human rights in the context of migration. Thanks to its sustained suspense and realistic cinematic style, it is also perfectly suited for human rights education in schools.

We think this film deserves an award.

Wir verleihen den Open Eyes Jugendjury Preis 2025 für die Menschenrechtsbildung an Schulen an den Film Souleymanes Geschichte in der Regie von Boris Lojkine – Herzlichen Glückwunsch!