Rob Munday

For filmmakers tackling the narratives of displaced migrants, one of the hardest challenges they can face is attempting to evoke empathy and understanding from their viewers. The media has played an influential role in the public perception of immigration and often how these stories have been presented has resulted in a disconnect between the audience and the stories being told.

To reignite public interest and compassion, these narratives must be approached from fresh perspectives, offering new insights into what may seem like overly familiar territory. Douwe Dijkstra’s (Supporting Film) short documentary, Neighbour Abdi, exemplifies this approach, employing the director’s trademark innovative filmmaking techniques to ensure audience engagement with the story of his Somali neighbour, Abdi.

“Bro, you should make a film about my life”

Upon crossing paths in the building where each rented studio space, Abdi learned of Dijkstra’s background and suggested, “Bro, you should make a film about my life.” As the pair delved into the possibilities of such a project, Dijkstra recognised a need to focus his work closer to home and found Abdi’s journey to be an ideal focal point. Despite their contrasting backgrounds, the pair soon formed a “creative and humorous kinship”, leading them to create a unique short. Their collaboration not only details the hardship of Abdi’s life but also explores many contemporary issues in society. 

Throughout the film, Abdi details his journey from Somalia to the Netherlands, his scars from the war, facing criminal charges, and struggling with mental health issues.

“I hoped to paint a hopeful portrait of a person who regained himself after many setbacks”, reveals Dijkstra as we delve into the inspiration behind creating Neighbour Abdi. The director is keen to emphasise, however, that his short film is not “a success story”, but rather “an ode to the healing power of creativity and friendship”. And rightly so, for Abdi’s narrative is marked by more lows than highs, and although he now finds himself in a place of stability, the journey he took to get there wasn’t one without its problems. Abdi has made some mistakes, but how he’s recovered from them is truly impressive.

While Neighbour Abdi undoubtedly encapsulates the immigrant experience, it transcends those boundaries, with Dijkstra determined in his aim to inspire his audience to reflect on the lives of their own neighbours. “Get to know someone beyond your preconceptions”, he urges, emphasising his belief that “everyone has a story, and everyone is shaped by their environment”. Beyond that, the filmmaker and his Somalian collaborator hope the film has an even wider reach, with Abdi hoping “to show the film in prisons around the Netherlands and use it as part of his workshops to help people who are struggling to find their way in Dutch society”.

Dijkstra playfully employs green screen and miniature sets throughout his short

For a 29-minute short to be featured on S/W, we’re always careful to assess its ability to captivate audiences throughout its entire duration. Such films must maintain unwavering engagement, never faltering in their narrative delivery. Neighbour Abdi accomplishes this feat through its inventive production techniques. Dijkstra initially garnered our attention in 2014 with his directorial debut, Démontable (only recently released online), which showcased impressive utilisation of green screen and scale and was a forerunner for a filmography full of similar innovation.

While Dijkstra has crafted several successful shorts since his debut, Neighbour Abdi stands out as the pinnacle of his work, seamlessly blending his filmmaking charm with the profound impact of Abdi’s story. Filmed over the course of a year in a “very free and ready-to-shoot studio setup,” the special effects employed never feel gratuitous, allowing the story’s significance to shine. However, it’s the ‘making-of’ segments that are the real triumph here, as they not only showcasing the warmth and camaraderie of the collaboration but also infuse humour and positivity into what could have been a daunting viewing experience.

After a successful festival run and online premiere with The New York Times, we’re happy to help share Abdi’s story with the world and delighted to welcome Dijkstra back to our site after an absence of seven years.