Wênd Kûuni (aka God’s Gift, 1982)

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.

Film posterCREDITS
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.

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Muna Moto (aka The Child of Another, 1975)

A beatifully-restored new (digital) print of this Cameroonian picture which deals with traditional ideas of marriage, with a fairly thoroughgoing critique of the same. Our two leads are N’gando (David Endene) and N’kome (Arlette Din Bell), young lovers, but he’s the ward of his uncle M’bongo (Philippe Abia, who has taken N’gando’s mother as one of his four wives), and now his uncle sets his eyes on N’kome as a possible mother to the child he hasn’t yet had. Key to this is the uncle’s access to money for a dowry (which N’gando must rely on his uncle to provide), and so there’s a battle for her affections which takes little account of her feelings, and so she is slowly closed off from both of them, leaving nobody in a good place. The structure of the film is fascinating, as it intercuts N’gando searching for N’kome during a local festival (filmed in a documentary verité style) long after they’ve been forced apart, with reminiscences and flashbacks of their time together. It’s also beautifully shot in black-and-white and undoubtedly a key work in African cinema.

Muna Moto film posterCREDITS
Director/Writer Jean-Pierre Dikongué Pipa; Cinematographers Jean-Luc Léon and Jean-Pierre Dezalay; Starring David Endene, Arlette Din Bell, Philippe Abia; Length 89 minutes.
Seen at Cinema Lumière (Sala Scorsese), Bologna, Tuesday 25 June 2019.

Women Filmmakers: Safi Faye

Born in the capital of Senegal in 1943, and trained as a teacher, Safi Faye had worked with filmmaker Jean Rouch and went on to formally study ethnography (gaining her doctorate in Paris). Therefore, this perspective runs strongly through her work, which frequently blurs the line between documentary and fiction. Her ethnographic focus is not, however, on documenting some exotic Other but often on her own family and their rural background (further explored in her 1979 film Fad’jal, named for her parents’ village), reclaiming it perhaps from the hands of Rouch and the French and European colonialists who deeply affected the entire region (if not, indeed, the continent).

Continue reading “Women Filmmakers: Safi Faye”

Baara (aka Work, 1978)

This year’s Il Cinema Ritrovato had a strand of films honouring the Ivoirian-based Pan-African film festival FESPACO, and Baara was the grand prize winner at the 6th festival in 1979. Sadly — perhaps to nobody more than the director himself, who expressed as much in a post-film Q&A — there are no good prints left of this film in circulation, though I’ve certainly seen worse than this one, which shows its age with a reddish tint to the colours. One can only hope that this film gets the proper restoration it so very much deserves.


This powerful film sets a mortal struggle against the background of trade unionisation of a corrupt workplace. It features three levels of worker: the humble porter Balla (Baba Niare); the namesake man who comes to be his manager at a factory (Bubukar Keita, who points out that his family, the Traoré, traditionally kept slaves of porter Balla’s one); and the boss of the factory (Balla Moussa Keita), who lives in a villa with an unfaithful wife (Omou Koné). There’s an attentiveness to the politics of work, and to the distinctions of class within this society, as well as little flashes of a more idyllic village life that our hero hopes for, contrasted with the uncaring treatment of undocumented workers by the police in the city.

Film posterCREDITS
Director/Writer Souleymane Cissé; Cinematographers Étienne Carton de Grammont and Abdoulaye Sidibé; Starring Baba Niare, Bubukar Keita, Balla Moussa Keita, Omou Koné; Length 90 minutes.
Seen at Cinema Lumière (Sala Scorsese), Bologna, Wednesday 26 June 2019.

Les Bicots-nègres vos voisins (1974)

Mauritanian filmmaker Med Hondo’s Soleil Ô (1967) received a recent restoration courtesy of Il Cinema Ritrovato and Martin Scorsese’s World Cinema Project. Another film of his (not yet restored) screened in this year’s Il Cinema Ritrovato and exemplifies a more confrontational attitude towards the colonialist past and the challenges of filmmaking on the continent.


With an undoubtedly confrontational title (there are several English renditions of it, but I’m not going to provide any of them here), this politically-engaged piece of post-68 anti-colonialist filmmaking from Med Hondo is very much interested in confronting a legacy of colonialism in Africa. After all, it starts with a lengthy address direct to camera on the necessity of finding a means for an African cinema freed from the demands of Western capital and cultural production. There follow a series of illustrative scenes that unveil the corruption wrought by capital, the methods of control exercised by the colonialist oppressors, a folky anti-racist song about one’s Black and Arab neighbours (which is, more or less, the meaning of the film’s title), a bit of Gilliamesque animation, dialogues with workers about socialism, a sequence highlighting the racism ingrained even in sex work, and some earnest lectures, complete with charts and graphics, on the economics of exploitation. It ends with a group of people in a room festooned with the posters of the kinds of African films that presumably Med Hondo would highlight as exemplars (including his own, even a poster for the one we’re watching), and now I want to see all of them. This isn’t always an easy watch — it’s hardly intended to be (and indeed there’s a longer three-hour cut apparently) — but it comes directly from a spirit of the times, recalling contemporary works like Argentina’s La hora de los hornos (The Hour of the Furnaces, 1968).

Film posterCREDITS
Director/Writer Med Hondo ميد هوندو; Cinematographers Jean Boffety and François Catonné; Length 100 minutes [French version].
Seen at Cinema Lumière (Sala Scorsese), Bologna, Monday 24 June 2019.

La Femme au couteau (The Woman with the Knife, 1969)

I have taken up doing themed weeks on my blog, and this week it’s all about African cinema, one of the least represented and worst preserved continents for film history. Although I touched on North African cinema in my recent week of Arabic language films, this week will be all about sub-Saharan Africa. Filmmaking on the continent stretches back through various colonial administrations (British, Belgian and French amongst others), but I want to start in the post-colonial era, rooted in the idea and dream of pan-Africanism that was celebrated by Ouagadougou’s FESPACO film festival, which started in 1969 and where this local Ivoirian film was shown (if not premiered). Bologna’s Il Cinema Ritrovato festival has been involved in restorations of notable films for the past few years, and this year they had a strand dedicated to FESPACO and some highlights of its programme over the years.


Despite screening at the very first FESPACO festival, this Ivoirian film is certainly not currently prominent in cinematic discourse, as I can barely find an image of it online. I know there’s a poster because in another film screened at Il Cinema Ritrovato (Med Hondo’s excoriating Les Bicots-nègres, vos voisins of 1974) it appears in the background of one sequence as an example of African cinema made for Africans. In any case, the film has been newly restored so with any luck it will regain some of its place in the history books.

The film deals with a man whose mind and existence seem to be fractured, apparently a result of his time in Europe. Played by the director (Timité Bassori), he is seen both as a young man and as an older one in black tie, possibly the same character at different times in his life, who imagines a woman with a knife trying to kill him and spends much of the film trying to get to the heart of his issues with women. The meeting between Africa and Europe becomes part of a dense psychoanalytic framework, and leads to a sort of double-consciousness from which the character may or may not fully recover, but it inhibits his socialisation into his own society. There are frequent repeated shots of him walking down roads, cast out and wandering, from rich streets to poorer ones, in his home town of Abidjan. Other elements of the film bring into focus his double life — the music moves from jazz to drums, the apartments we see have both high Western culture (shelves of books on French artists for example) as well as indigenous instruments and artwork — and if the film feels at times rather difficult and opaque, it is also brimful of ideas.

CREDITS
Director/Writer Timité Bassori; Cinematographer Ivan Baguinoff; Starring Timité Bassori, Marie Vieyra, Danielle Alloh; Length 77 minutes.
Seen at Cinema Lumière (Sala Scorsese), Bologna, Friday 28 June 2019.

وقائع سنين الجمر Waqai Sinin al-Jamri (aka Chronique des années de braise, Chronicle of the Years of Fire, 1975)

Algeria, even more than many of its North African neighbours, has been a subject of a lot of filmmaking, thanks to the Wars of Independence from France that tore the country apart in the 1950s and 1960s, a cause that galvanised a generation of French politically-engaged filmmakers who came of age in the New Wave and were receptive to the radical student politics of May 1968. The struggle is most famously covered in The Battle of Algiers (1966), but there are relatively few films told from the Algerian side. One such film, a work garlanded with plenty of awards and which is often found on lists of the greatest Arab cinema, is the one I cover below.


A grand, sweeping, widescreen epic of Algerian liberation from colonialist oppression which covers several decades up to the wars of independence in the 1950s. The film primarily follows a village farmer called Ahmed (Yorgo Voyagis, a Greek actor), who leaves his village for the larger local city with a family, and suffers various privations, especially during World War II. Their lives are almost entirely cut off from Europe, so the wars of France against Germany seem like nothing more than an opportunity to replace their despised colonial masters. Still, they are sucked in, and return to famine and typhoid, at which point a man arrives, banished to this remote outpost, and quickly starts to foment further revolutionary consciousness amongst the people. This is a new restoration commissioned by the Il Cinema Ritrovato festival and which hopefully will bring this Palme d’Or-winning Algerian film back to wider prominence. The director’s preferred cut is 157 minutes, and has some of that sweeping, epic, desert quality of Lawrence of Arabia (1962), as well as a potent message of fighting against brutal oppression, but it remains always grounded in the small-scale story of Ahmed and his family.

Film posterCREDITS
Director Mohammed Lakhdar-Hamina محمد الأخضر حمينة; Writers Rachid Boudjedra رشيد بوجدرة Tewfik Fares توفيق فارس and Lakhdar-Hamina; Cinematographer Marcello Gatti; Starring Yorgo Voyagis Γιώργος Βογιατζής, Mohammed Lakhdar-Hamina; Length 157 minutes.
Seen at Cinema Lumière (Sala Scorsese), Bologna, Friday 29 June 2018.

Two Films by Youssef Chahine: Saladin the Victorious (1963) and The Land (1969)

I’m spending a week looking at Arabic language cinema, from around the Arabic-speaking world, stretching from North Africa across the Middle East. One of the key early figures in modern Arab cinema is the work of Egyptian director Youssef Chahine, and indeed Egypt has always been the powerhouse cinematic country of the whole region, with a range of popular cinema rivalling that of Bollywood to the East. Chahine integrates influences from France and the Soviet Union, amongst other traditions, creating some of the greatest works of modern cinema and he has certainly been influential in Arab cinema. I’ve already reviewed one of his earlier films, the excellent melodrama Cairo Station (1958), though these 60s works feel like quite different films.

Continue reading “Two Films by Youssef Chahine: Saladin the Victorious (1963) and The Land (1969)”

혈맥 Hyeolmaek (Bloodline aka Kinship, 1963)

A Korean drama set at the outskirts in a large city, where a couple of intertwined families of North Korean expatriates live, the lives of the children and their parents quite different, with the generation gap marked by the disrespect shown from the younger ones, who need to go out to the city for work (not all of it quite as morally upstanding as their parents would want). We see a lot of the elderly gentlemen of the families sitting around, getting grumpy about the price of things (that indeed is how the film begins), being gouged in the rent by their landlord even for these shacks high above the city, which feels more like a favela or a slum than an integrated settlement. We see the way that money pulls everyone apart, fuelled by the American servicemen who frequent the bars and nightclubs, but their poverty is presumably also class-related and to do with their North Korean origins. The film can be a little clunky at times, but it’s compelling and moves towards a more hopeful resolution centred on the younger generation.

Film posterCREDITS
Director Kim Soo-yong 김수용; Writer Lim Hee-jae 임희재 (based on the play by Kim Yeong-su 김영수); Cinematographer Jeon Jo-myeong 전조명; Starring Kim Seung-ho 김승호, Shin Seong-il 신성일, Kim Ji-mee 김지미; Length 81 minutes.
Seen at Cinema Lumière (Sala Scorsese), Bologna, Monday 24 June 2019.

고려장 Goryeojang (aka Burying Old Alive, 1963)

This film, set in historical Korea (Goryeo), tells of a time when old people were abandoned up a mountain by their kids, a response to a lack of food in a culture which greatly valued large families. It opens with a panel of experts in the modern day talking about the scourge of overpopulation, before flashing back in time to a rural village out in the mountains. Given the large number of people in the film, the 10 kids of the one family, whom we see at various times over a number of decades, I did get rather confused by who was whom — not least because the film is missing a couple of reels, replaced by dense chunks of text which go past pretty quickly. Still, it’s a brutal film of lives cut too short, nasty and brutish, with all kinds of squabbles and conflicts defining these people, who are born without much hope and then stripped even of that by the circumstances of their lives. The widescreen monochrome photography looks good, though, and it presents nicely its moral quandary of who in society we should value.

Film posterCREDITS
Director/Writer Kim Ki-young 김기영; Cinematographer Kim Deok-jin 김덕진; Starring Kim Jin-kyu 김진규, Ju Jeung-ryu 주증녀; Length 90 minutes.
Seen at Cinema Lumière (Sala Scorsese), Bologna, Saturday 29 June 2019.