K’naan Takes a Step Back: A Cinematic Journey Begins

K’naan, the renowned artist, has decided to step away from the limelight. He has chosen to shift his focus behind the lens for his debut film.

Following the release of his 2012 album “Country, God or the Girl,” K’naan felt the weight of the music industry’s demands. “Honestly, I’ve likely created enough material for two albums since then. However, I’ve refrained from sharing it, as I lost my drive to produce music,” the 46-year-old admits during a video call from his cozy New York apartment. “Now, I prefer my endeavors to revolve around the artistry rather than my personal narrative.”

Over the past ten years, Warsame has immersed himself in projects that allow him to escape the spotlight. His film “Mother Mother” will make its debut at the Toronto International Film Festival this Friday. The story follows Qalifo, a widower skillfully portrayed by Maan Youssouf Ahmed, along with her son Asad, played by Elmi Rashid Elmi. Together, they navigate the complexities of managing a camel farm in rural Somalia. When Asad discovers his girlfriend has been involved with Liban, an American tourist played by Hassan Najib, simmering tensions erupt, fundamentally altering their destinies.

Warsame penned the script in October 2020 as a heartfelt tribute to his aunt Qalifo, who was battling terminal cancer. The protagonist draws loose inspiration from her life. “During those trying final months, I created a fictional challenge for her, allowing me to spend more time with her,” he recalls. His aunt passed away just as filming commenced in northern Kenya.

Drawing from the deep well of inspiration offered by his homeland, Warsame emphasizes that the film also serves as a homage to Somali mothers. “Our mothers embody strength, love, and resilience. Mention a Somali woman to anyone from the community, and you’ll see an instant connection to that identity,” he elaborates. “This film aims to unveil the remarkable and distinctive qualities of Somali women.”

The seed for K’naan’s filmmaking ambitions was planted in 2013 during a month-long program at the Sundance Institute’s prestigious directors and screenwriters labs in Utah. “I wanted to discover if I could convey emotions through the lens as I could through music and lyrics,” he reflects. This pivotal experience marked a significant creative transformation for him, igniting a passion for collaborative storytelling. “Working as a team felt less isolating. It was like witnessing a colony of ants working together towards a common goal,” he remarks.

In 2016, HBO greenlit a family drama pilot called “Mogadishu, Minnesota,” centered on the Somali community in Minneapolis. Warsame was the driving force behind it as writer, director, and executive producer, alongside acclaimed filmmaker Kathryn Bigelow. However, the network scrapped the project in 2017. Warsame decided to discontinue the show amidst swirling controversy regarding its sensitive themes. “Back then, no one was producing narratives tackling intricate topics about Muslims and immigration. Being the first often bears unique hurdles,” he notes.

He adds, “People were deeply apprehensive because there was no precedent for exploring the Somali narrative, let alone the broader Black African Islamic experience.” Rather than force through a potentially misconstrued show, he opted for a strategic pause to explore other projects.

While crafting “Mother Mother,” Warsame acquired essential skills, from mastering storytelling pacing to honing his cinematographic intent. Yet, he admits he currently lacks a clear vision for his next undertaking. Recently, he released a single titled “Refugee,” which received a Special Merit Award from the Recording Academy, the organization behind the Grammy Awards. A new piece, “I Come From,” features in the film’s closing credits, although he remains noncommittal regarding a forthcoming album.

“I’ve never felt this exhausted in my entire life. I’ve been in constant motion,” he shares, noting the film wrapped up just last August. “Something’s definitely brewing in the back of my mind. I’m inclined to create another small film. Massive productions don’t pique my interest as much. I’m drawn to more intimate narratives, with several ideas already percolating,” he adds. “But, of course, music will always be a part of me, so we shall see what unfolds.”