Escape From Mogadishu (15)
Directed by Seung-wan Ryu

SET in the late 1980s and early ‘90s, this nail-biting political thriller recounts the extraordinary true story of how the diplomatic staff and families of the South and North Korean embassies, despite their bitter enmity, united to escape war-torn Somalia.

Shot in Morocco just before the onset of the pandemic, South Korea’s entry for this year’s Oscars is a gripping yet complex action-packed drama set against the backdrop of the civil war, which begins by outlining the run-up to events in Mogadishu.

The South Korean ambassador Han (Kim Yoon-seok) is seen desperately attempting to enlist the help of Somalia’s President Barre to get his country admitted into the United Nations.

Unfortunately his efforts are thwarted at every turn by his North Korean counterpart, ambassador Rim (Joon-ho Huh), and his devious intelligence officer (Kyo-hwan Koo).

At this point the tone of the film is light and more comedic as these bitter enemies embark on a crazy cat-and-mouse game, upping the ante at every opportunity. However, once the conflict breaks out in 1991, the thriller transforms into one of fear, anguish and desperation as there are no more official palms for the Koreans to grease to be able to escape Mogadishu.

As they flee their embassy, the North Korean diplomats and their families are faced with armed children on the streets fighting for the rebels to bring down the Barre regime, wildly wielding weapons. Running for their lives, they are forced to swallow their pride and seek shelter from the South Korean ambassador, culminating in a tense and poignant dinner scene which speaks volumes.

Under Seung-wan Ryu’s skilful direction, the film heads to an explosive third act and a heart-stopping car chase, involving a convoy of four vehicles, worthy of the Fast and Furious franchise.

Joining forces, all the protagonists race against time, driving through the streets of Mogadishu to the Italian embassy and freedom, while being pursued and shot at by both government and rebel forces.

An ambitious one-take shot moving through all four cars’ interiors captures the terror and horrifying ordeal of the escapees.
This is a remarkable tale of humanitarian will and what can be achieved when people put their grievances and differences aside to help each other.

Maria Duarte
In cinemas and on digital platforms