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“Sedu and Kekuda are former child soldiers coming to terms with their shocking past as they navigate an uncertain present. Kekuda continues to seek redemption, forgiveness and acceptance through his music. While Sedu’s trauma, anger and violence rule his life.” – Sedufilm.com

 Written, Directed and Edited by: Michael Nield Producer(s): Jessica Boyd, Ansu Kabia, Michael Nield DOP:Wayne Thomas Cast: Ansu Kabia, Alim Kamara (and more)

SEDU is not your average film, nor should it be, but admittedly there comes a point when you’ve seen the same themes and rehashed plot lines tackled in film after film. That’s not surprising, after all originality is a moot when it comes to art; so then, it’s important to look at what is being contributed to the already full table. 
The primarily black cast are striking and this – whether intended or unplanned – is already a convention flipped on its head. Throughout the film the blackness, both aesthetically and metaphorically isn’t something to fear, it’s a place of significant reflection, hope and redemption. Sedu’s past as a child soldier haunts him and he refuses to face it, unlike Kekuda (Alim Kamara) who is shown to embrace it and use it to forge a positive path of his design.
A climatic carjacking scene would normally force an empathetic divergence and typically warrant a very black and white conclusion but, in this film, things don’t pan out that way.
 Sedu doesn’t seek redemption in the way the audience is familiar with, the conventional approach doesn’t apply to what is essentially a well-rounded and philosophical look at the oft theological meaning applied to the word.
What we’re left with is a story and a central character that can’t really be contained, or rationalised. SEDU goes an impressively long way in achieving such a bold and existential premise. We’re invited to watch, listen and draw our own conclusions, and that’s a rare consideration in a market full of coerced shallow storylines.
It’s imperative to mention the effect the music has in contributing to the tone of the film. Be it the poetical citations of Kakadu’s rap lyrics (Kamara’s own) that conveys his own journey, or the deep spirituality that builds to a dizzying crescendo (beautiful voice of Amaka Okafor) punctuates the duration of the film.
Sedu embodies a deeper understanding of how embracing the present, not dwelling in the past, is more crucial in shaping our future. In short, I enjoyed it.
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Check out the official site for SEDU for information and future screenings and enquires.

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