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In a Syrian neighbourhood outside of Damascus, the year is 2011. Two sisters are having fun while surrounded by a picturesque pool landscape. All ages of people splash around them or plunge into the watery depths. Pop music is playing in the background, and the sun is shining. You may have thought this was in California considering the surrounding mountains and sporadic palm trees. With knowledge of what will happen to Syria in the upcoming years, there is a sad sense of normalcy to this pattern.
The boring opening of “The Swimmers” quickly shifts to 2015. Sara (Manal Issa) and Yusra (Nathalie Issa) are now older. The two are divided between concentrating on their swimming careers and wanting to enjoy their youth in the face of death and ruin. They decide to undertake the perilous trek to Europe when the violence in their nation can no longer be ignored, following in the footsteps of millions of other refugees. Then, in spite of all the odds, Yusra persists in pursuing her goal of swimming in the Olympics.
Sally El Hosaini’s “The Swimmers,” which is based on the true story of Yusra and Sara Mardini, paints a moving picture of their struggle to survive and accomplish the seemingly impossible. While maintaining its main characters’ sense of hope and reality, the script, which was co-written by El Hosaini and Jack Thorne, does not downplay the risk or difficulties the sisters encountered on their journey to Germany. Although the two sisters fight, screw up, and are overly harsh on themselves, that is a big part of what makes their narrative so interesting. They were average youngsters who were put in unusual situations.
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The young women’s journey is the main subject of “The Swimmers,” but it periodically broadens the scope of its intensely personal narrative to examine the larger humanitarian problem that migrants continue to face today. The young ladies seek refuge with other passengers but are tricked or mistreated by traffickers, sleep in small apartments that are overcrowded with newcomers, and encounter red tape when attempting to contact their family who have been left behind in Syria.
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El Hosaini illustrates the hardship of refugees through the lens of cinematographer Christopher Ross in scenes like when the sisters arrive on a Greek island frequented by many refugees before them and walk through a valley of abandoned brightly colored lifejackets. To give an idea of just how serious this situation has gotten, the camera pans down to the sea of life jackets. In a different scene, the sisters break into a beach resort by dressing and acting like Europeans in order to sneak past unobservant personnel and guests and have a shower. The unsuspecting beachgoers are completely unaware of the nearby refugee camp. The sisters are experiencing a sunny day similar to the ones they used to have back home, and Ross uses that opening sequence’s aesthetic to show what the sisters have lost as a result of the Syrian Civil War.
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Because Nathalie and Manal Issa are sisters in real life, their on-screen chemistry is deeper than that of their characters Yusra and Sara. Behind their body language and tones, the two appear to have a common past that includes past betrayals, reconciliations, and betrayals. Their conversational exchanges range from sympathetic and encouraging to openly confrontational, illustrating a similar emotional journey to their physical one.
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The sisterly bond is the main focus, but the supporting cast also sheds light on the main characters. The devoted mother Mervat (Kinda Alloush) and their stern but loving father and coach Essat (Ali Suliman) create the loving home the young women are leaving behind, and their loss in the sisters’ life on the road is keenly felt. The viewer is reminded of how young many migrants are by their cousin Nizar (Ahmed Malek), who migrates with the two sisters. Yusra, the younger sister, is only 17 years old when they leave Syria. After their life-threatening encounter, Yusra’s swim instructor, Sven (Matthias Schweighöfer), teaches her a new lesson in addition to her father’s earlier difficult love lessons: how to forgive oneself. The start of a new chapter in their life is heralded by his act of generosity, which is notably absent from the movie after the sisters’ departure.
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The Mardini sisters’ story is retold by El Hosaini in a powerful homage to them, to the millions of refugees who risked everything to flee to safety, and as a reminder that many of their stories are still being told today. It’s the kind of motivational sports film where the focus isn’t only on the star athlete or the major match. The story of “The Swimmers” is told on a personal level, which makes the subject matter approachable and unforgettable. The cause is one that goes well beyond the Olympics.
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