ADIFF ’24: Far from the Nile

The prospect of war between Egypt and Ethiopia is well within the realm of possibility, all because of the Nile and the Grand Ethiopian Renaissance Dam. The strategic value of water cannot be over-estimated. It is not the new oil. Rather oil was the new water—almost. However, this ensemble of musicians hopes the Nile can connect them rather than divide them. Despite differing cultures and nationalities, their styles are quite compatible. Nevertheless, the usual stress of touring might undermine some of their bridge-building in Sherief Elkatsha’s documentary, Far from the Nile, which screens as a selection of the 2024 African Diaspora International Film Festival in New York.

The Nile Project is a musical nonprofit actively working with musicians in eleven nations based along the Nile. Their big showcase is a multi-national touring ensemble designed to set a musical example for transnational cross-cultural cooperation. In 2017, they embarked on a 100-day American tour, which would be even be grueling for top acts traveling by charter planes and limousines. The Nile Project was booked into Motel 6’s, but they would up meeting some typical Americans that way.

The Nile Project musicians do not play Afrobeat or Highlife, but fans of successful crossover African musicians should still feel at home with their percussive rhythms. Inevitably, set-list inclusion often became a sore point of contention. Ironically, one of the best tunes of the film, a feature spot for Ethiopian vocalist Selamnesh Zemene, was almost cut because the musicians were struggling with communication and the rhythm.

At least twice, emergency group meetings were called. Kenyan percussionist Kasiva Mutua sort calls out some of her colleagues when she suggests some of group (including her) consider the tour a mission, whereas others see it as just another gig.

Indeed, Far from the Nile could never be accused of serving as a sanitized PR piece, which sets it apart from legions of documentaries. Consequently, it can be expected to hold up better than most as well. (For instance, Jeremy Wheeler probably wishes he had asked more probing questions of Kevin Spacey in NOW: In the Wings on a World Stage, a fannish puff piece, supposedly documenting the actor’s Richard III production, which probably hasn’t had many screenings lately.) The roundabout point is Nile is absolutely nothing like that.

Perhaps the most important thing is the music, which is great. If nothing else, Far from the Nile will turn on a lot of viewers to musicians they had never heard before, which is definitely a very big something. Aside from one annoying comment from an American sponsor, the film is also nonpolitical and non-ideological. Recommended for the musicianship and the honesty, Far from the Nile screens tomorrow (11/29) and December 9^th, as part of this year’s ADIFF.