On the surface, the film is a thoroughly entertaining gem riddled with memorable slapstick sequences that are sure to rouse bouts of stomach-hurting laughter from the audience...but when one situates the film in the realities of the period, the cracks begin to show.

Bouka is adapted from Jeux Dangereux, a 1974 short story by Timité Bassori (another pioneer of Ivorian cinema), and M’Bala honours the source material by attempting to follow as many storylines as possible without neglecting the central plot.

Each scene involving Manga and Sory carries a longing that was hitherto unknown in African cinema, and Camara’s intention to spark conversation about the African attitude to homosexual relationships is evident in the way he lingers on every moment of passion between the young lovers.

The film was the first feature directed by a woman in Tunisia, meaning that making the film was a revolutionary act in itself. However, by presenting a candid depiction and challenging the notions of the woman’s inferior role in society, Baccar made sure that the film’s revolutionary quality extended to its content.

For a debut, Abikanlou dances through tones, settings, and themes with a grace that suggests natural talent. Combined with a courageous commitment to authenticity, he delivers a piece of African cinematic history that should serve as a blueprint to filmmakers aspiring to create timeless films across the continent.

Polygamy must have been a natural topic for Duparc to tackle since it presented an opportunity explore the African woman through multiple characters in a limited runtime, and it is no surprise that he had written the script decades ago when he was still a film student in France.