Although my theme this week is building up to the release of 1917, this African epic isn’t strictly-speaking a war film (at least as far as its generic cues go), though it deals with a war between European colonisers and an African people who strongly resist.
A bold African epic about the titular queen who resists the French colonising armies in, I gather, what is present day Niger. In terms of the film, the queen (Aï Keïta) is more talked about and feared than actually seen, and in the end it is the white men who sort of do it to themselves, but the focus is on the moustachioed Captain Voulet (Jean-Roger Milo), not very far from some of the roles that Klaus Kinski would play for Herzog, as a power-addled self-destructive little dictator whose military rank makes him believe he is somehow beyond reproach. The film is really about the rot at the core of the colonialist mission, exemplified by this man, whose fixation on defeating queen Sarraounia becomes his undoing. It’s beautifully filmed in widescreen, with a score of traditional African percussion, along with some rousing acting from the non-professional (African) cast. It suggests not just the way that the 19th century European colonial project was resisted by Africans, but also some of the ways that African disunity allowed it to take hold in the first place, while also being celebratory of heroes like Sarraounia.
Director Med Hondo ميد هوندو; Writers Hondo and Abdoulaye Mamani (based on a novel by Mamani); Cinematographer Guy Famechon; Starring Aï Keïta, Jean-Roger Milo; Length 120 minutes.
Seen at BFI Southbank (NFT1), London, Saturday 7 December 2019.
After yesterday’s solitary first film, I saw two films at the London Film Festival this evening, both of which highlight people’s lives in different places (the Côte d’Ivoire and Thailand respectively) but bring a sort of outsider’s perspective, albeit using quite different genre cues.
Continue reading “LFF 2019 Day Two: Desrances and Krabi, 2562 (both 2019)”
While a number of post-independence films in Africa have focused on specific issues related to colonialism and development across the region, a number of filmmakers instead turned to pre-colonial stories of traditional life, perhaps to recall what had been lost, or else highlighting the powerful continuity of traditions that can be recognised even in a continent reconfigured with enforced new religions and political leadership. The Royal Belgian Film Archive has led on a new restoration of the Burkina Faso film Wênd Kûuni, which showed at this year’s Il Cinema Ritrovato festival.
Although made in Burkina Faso (known as Upper Volta when the film was made), this is set before the coming of Europeans, in a dusty and sun-drenched village. It moves at a gentle pace, as first we hear of a woman whose husband has disappeared, and then we see an abandoned child (Serge Yanogo), apparently mute, taken to a local village by a passing traveller. The villagers look after him as he grows, naming him ‘God’s Gift’ (Wênd Kûuni). The narrative, such as it is, involves his backstory, finding out where he comes from (which brings in local folk narratives, witchcraft and a rather brutal expulsion). However, it also suggests a time when such lives could be lived without the greater threat of the destabilisation created by the outside world, of a lost culture that no longer existed in Burkina Faso.
Director/Writer Gaston Kaboré; Cinematographers Issaka Thiombiano and Sékou Ouedraogo; Starring Serge Yanogo, Rosine Yanogo; Length 75 minutes.
Seen at Cinema Lumière (Sala Scorsese), Bologna, Saturday 29 June 2019.