Film Spotlights

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.

The tone of La Vie est Belle was a breath of fresh air in African cinema, showing that film was not just an appropriate medium for comedy in the African context, but an effective one. There are no colonial or foreign elements in the film, and the story centres around African characters interacting with local situations to comical effect.

One of the film’s greatest strengths is its ability to juggle multiple genres at once. Along with the dramatic clash of cultures that forms the main theme, a romantic arc between the young teacher and the village chief’s daughter is explored on screen. Concurrently, another character’s psychological troubles and eventual spiral into madness is examined, and Joachim’s comedic oscillations between catholic and traditional practices provide a satirical undertone that creates some of the films memorable interactions.

Since his first two narrative films had focused on the Guinea-Bissau war of independence and its impacts, the decision to tackle the issue of climate change and nature preservation in his third feature may have come as a surprise. Unsurprisingly, Gomes delivered a memorable and heartfelt film, justifying the drastic shift in subjects that may have alarmed some of his admirers.

While they are incredibly tasking ventures, African musical films (when they manage to be made) deliver some of the most memorable, raw, and electric display of cultural expression on screen. Joseph Gaï Ramaka understood the potential that came with tying song and film in an African knot, and with Karmen Geï, he unleashed these powers to the fullest.