Filmmaker Mohamed Shaykh Is Capturing Authentic Somali Stories
At the heart of Mohamed Shaykh's filmmaking journey lies a deeply personal commitment to authenticity. "I make films for myself and only for myself,” he declares, driven by the need to create stories that resonate with the experiences of his community. Through his lens, Mohamed seeks to portray Somali culture and identity with respect, honesty, and a dedication to truth.
Mohamed's artistic journey began with various creative pursuits, from choir performances to writing and video art courses in college. However, it was his strong desire to make a meaningful impact on his community that led him to the intricacies of filmmaking. "I make films to educate the community and educate myself," he explains, emphasizing the educational aspect of his storytelling.
For Mohamed, authenticity is more than just a stylistic choice—it is a conscious effort to break away from stereotypes and present narratives that truly connect with his community. This commitment is evident in projects like "The Forgotten Ones," a documentary that explores the sensitive issue of opioid addiction within the East African community in the Twin Cities. Collaborating with Abdiraham Warsame, founder of Generation Hope, Mohamed approaches storytelling with care, ensuring that the portrayal remains true to those affected by drug abuse while respecting their privacy and identity.
As a filmmaker, Mohamed is driven by a desire to see authentic representations of his culture on screen, something he found lacking in mainstream cinema. "I make films for myself because there aren't enough films out there where I can see people like me on the screen," he shares. His work is not just about storytelling; it’s about preserving the voices and experiences of his people.
Islam effortlessly becomes a part of Mohamed's creative expression. In one of his projects, a character says, "This is my favorite spot because I can hear the athan from here," highlighting the fusion of faith and storytelling. Whether capturing scenes within a mosque or engaging in conversations with an imam for his documentaries, Mohamed seamlessly integrates cultural and religious elements into his work.
Reflecting on his experience, Mohamed recalls the first screening of "The Forgotten Ones." Sitting in the back of the theater, he realized why he makes films. "I’m one audience member, and it matters how I feel—it matters that I’m enjoying this because I made it for myself." For Mohamed, the end result is deeply satisfying, as it allows him to share a piece of himself with the world.
WURUUD: What drives your commitment to authenticity in your filmmaking, especially when telling stories about your community?
Mohamed: So first things first, I have to be authentic to the story that I’m telling. I don’t like copying other people—I can learn from them, but I don’t like doing things that have been said before. It has to be original, and it has to talk about my community and our struggles. For example, in "The Forgotten Ones," before I even made that film, I made a film called "Hagar," which talks about what's going on in my community.
When I picked up a camera, I wanted to point it at things that are important in my community. For instance, the older characters in all of my films speak Somali—that's non-negotiable. Authenticity matters to me and staying true to the story that I’m telling. For example, there is an active user in "The Forgotten Ones," and we hide his face and identity. But at the same time, we need to get to the bottom of the problem, so I asked people more questions to get them to elaborate and give us more details while staying true to everyone's identity.
What inspired you to become a filmmaker?
Mohamed: I make films for myself, and only for myself. Why? Because instead of watching something like "Iron Man," I would love to sit in a theater by myself and watch a Somali film. At the end of the day, I make them for myself because there aren't enough films out there where I can see people like me on the screen. So, I make them because I want to watch them.
Can you describe a moment when you felt the power of your own work as a filmmaker?
Mohamed: When we screened "The Forgotten Ones," I sat in the back of the theater with my friends, watching it for the first time. I realized, this is why I make films. I know people around me are watching, feeling different emotions, and I'm going through it with them. But guess what? I'm one audience member, and it matters how I feel—it matters that I'm enjoying this because I made it for myself. There was a moment I forgot there were people around me because I was just staring at the screen.
How does your personal experience influence the stories you choose to tell in your films?
Mohamed: I make films to educate myself and to enjoy them. For example, I remember watching one of my films, "The Gravedigger’s Wife" in a theater—it’s about a Somali couple, and the film was 100% Somali. Watching it, I was so happy, sad, and laughing all at once. I didn’t care who was next to me. That’s the kind of energy and feeling I want to capture when creating something beautiful.
Mohamed's approach to filmmaking is an intimate journey, fueled by a sincere desire to present an authentic portrayal of his community. Through his work, we witness not only the power of storytelling but also the transformative impact of narratives that bridge societal divides. His films are a testament to the importance of staying true to one's roots while creating art that resonates on a universal level.
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