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A newly formed family faces challenges as they pursue their individual goals and navigate the complexities of modern life, relying on love, trust and resilience to guide them. On a deserted beach, in the wind and waves, a father and son, Mamargade and Cigaal, enjoy a little happiness in nature. Few moments are as precious as the hard work, the deadly drone strikes from above, the checkpoints and the payment for jobs that take months to complete, if at all. The couple lives in their simple, tiny house built of concrete blocks and corrugated cardboard with Mamargade’s sister, Araweelo. Cigaal dreams of light. Araweelo dreams of making and selling her own clothes. As a single woman, she cannot get a loan, so Araweelo devises a plan to get around the rules. The risks are enormous. “I’ve been trying to improve things my whole life,” says Mamargade, “but I keep making mistakes.” When unhappiness overshadows almost every aspect of daily life, it’s impossible to avoid “mistakes.” But this humble, hard-working trio never stops trying and hoping for luck, their own business, the beach, school funding, and better days. The Village Next to Paradise premiered in Cannes. “This is the first film to be shot in Somalia,” said director Mo Harawe, who attended the North American premiere at the Toronto International Film Festival. Harawe collaborated with the Paradise community to make the film and used non-professional actors. The Somali investment paid off in terms of the film’s authenticity. The ambient sounds of radio music, traffic, waves, and wind also contributed to the film’s realism. “The wind is a character,” Harawe said, “so human characters are never alone.” Culture is also a character, and I enjoyed immersing myself in Somali songs, stories, and landscapes.