STATUS: POST-PRODUCTION

NARRATIVE CONCEPT

Through Hamadi’s journey, the film explores mobility as both opportunity and constraint. His rapid international success grants access to border crossing while binding him to expectations shaped by Western markets and unequal global systems. The film repeatedly returns to Tanzania, observing a daily rhythm that contrasts with Hamadi’s constant travel, despite the extreme speed of Singeli itself. Young artists follow Hamadi online, imagining music as a possible exit, while his father continues a fragile relationship with his son as he processes the loss of his eldest son. Hamadi’s growing belief in Wachawi, black magic, becomes a narrative lens through which the film questions responsibility, guilt, and extraction. What begins as paranoia opens a space to interrogate where value is produced and who benefits from cultural circulation. Moving rapidly across the world, Hamadi looks like what a 24-year- old should look like: full of energy, ambition, and possibility. Through his work as a DJ, people his age can only dream of. But beneath that movement and success, in his confessions about black magic and deeply rooted spiritual beliefs, we begin to realise he’s still like any other guy his age from the suburbs of Dar – grounded in his culture, shaped by tradition, and carrying home with him wherever he goes. Caught between acceleration and stillness, aspiration and loss, A Day for Everything follows a young artist navigating a world that celebrates movement while quietly demanding its cost.

DIRECTOR’S STATEMENT

As an Italian filmmaker, I approach A Day for Everything with an awareness of my position within the systems the film seeks to observe. I do not claim neutrality. My presence is implicit but decisive, questioning how stories are told, who tells them, and under what conditions. The film is a director-led project built through long-term proximity, observation, and trust. It does not begin from a political agenda, but from lived experience and contradiction. Through Hamadi’s journey, realities such as success, mobility, and recognition emerge organically rather than being explained. By intertwining electronic music, superstition, grief, and movement, the film resists linear narratives or artistic ascent. Hamadi’s belief in spiritual imbalance and contrappasso opens a space where rational, emotional, and cultural logics coexist without resolution. Ultimately, A Day for Everything reflects on movement itself – its promises and its costs – using an intimate, character-driven story to address broader social and political topics. Rather than offering answers, the film aims to unsettle certainty and open a space for reflection on identity, belonging, and responsibility in a globalized world. 

STYLE

The documentary will follow an observational style. Rather than using formal interviews, we aim to follow organic situations where the conversations feel like they are being “overheard” naturally.

A key visual element will be the contrast between 16mm film and digital footage. The use of digital cameras will represent the director’s point of view, capturing the present moment with as little interference as possible, trying to avoid “contaminating” the environment. The switch to 16mm film will be used as a device to create a dialogue, emphasizing a contrast within the characters’ narration and signaling a shift into their inner world and desires. This change will be an intentional disruption, one that pulls the audience out of the documentary’s formal structure. Once the film returns to the digital format, the viewer will have the sensation of stepping back into the director’s perspective, a reminder of the ongoing tension between observation and involvement.