1 to 10|11 to 20|21 to 31|31 to 36|38 to 45|48 to 54|54 to 60|63 to 67|67 to 75|78 to 83|84 to 90|90 to 100
21. (TIE) “Late Spring” (Ozu Yasujiro, 1949): “Muna Moto” (1975) is a Cameroonian film directed by Jean-Pierre Dikongué Pipa. Both films explore themes of societal pressures, tradition, and personal desires.
“Late Spring” follows a widowed father’s insistence that his daughter must marry, while “Muna Moto” depicts the struggle of a young couple facing social and economic obstacles to their marriage.
Despite their different cultural settings, both films delve into sacrifices made in the name of love and duty, with a restrained and elegant directorial style, and share an exploration of human emotions and the conflict between individual wants and societal expectations.
“Muna Moto” is not available to stream. It was restored by Scorsese’s World Cinema Project and is available on a Criterion Collection disc.
21. (TIE) “The Passion of Joan of Arc” (Carl Theodor Dreyer, 1927) and “Sarraounia” (Med Hondo, 1986) are two films that depict the struggles of strong female protagonists against oppressive forces. “The Passion of Joan of Arc” focuses on the final days of Joan of Arc, the French heroine who led the French army during the Hundred Years’ War in the Late Middle Ages. The film portrays her unwavering faith and resilience in the face of interrogation, torture, and execution.
In contrast, “Sarraounia” tells the story of the titular legendary queen of the Azna people in West Africa, who leads a resistance against French colonial invasion in 1899. She displays courage, strategy, and charisma as she fights for her people’s freedom.
Despite their different historical and cultural contexts, both films explore themes of resistance, courage, and freedom. Together, they offer inspiring narratives of female empowerment and resilience amid adversity.
“Sarraounia” is not available to stream, although it’s likely on YouTube.
23. “Playtime” (Jacques Tati, 1967) and “La Citadelle” (1988), an Algerian film by Mohamed Chouikh entertain with humor and charm while delivering social critiques. However, like every pairing on this list, they differ in their cultural focus; and, in this specific case, thematic as well.
“La Citadelle” follows the story of Kaddour, a young man whose arranged marriage becomes a life lesson. The film explores relationship inequality within traditional Algerian society and offers a social critique specific to that cultural context.
On the other hand, “Playtime” is a French film set in a futuristic and impersonal Paris. It takes the audience on the adventures of Monsieur Hulot, using satire to critique modernity, consumerism, and the dehumanizing effects of urbanization.
However, “La Citadelle” focuses on an exploration that’s specific to traditional Algerian society, while “Playtime” takes a broader approach by addressing the impact of modernity on a more universal level.
“La Citadelle” is not available to stream at this time, but a copy can probably be found on YouTube.
24. “Do the Right Thing” (Spike Lee, 1989): “Mapantsula” is a 1988 South African crime film directed by Oliver Schmitz that tells the story of Johannes “Panic” Mzolo, a small-time thief, set against the backdrop of Apartheid. “Panic” is arrested and detained under the state of emergency, and while in prison, he witnesses the brutality and injustice of the system. Influenced by the political activists who are also incarcerated, “Panic” begins to question his own role in society and his responsibility towards his fellow Black people.
Like “Do the Right Thing,” the film explores the themes of oppression, resistance, and solidarity, although in a much more realistic and gritty way. It uses various cinematic techniques, such as flashbacks, and voice-over narration to convey “Panic’s” inner thoughts and feelings.
“Mapantsula” also explores racial tensions and conflicts, but in the context of Apartheid South Africa. It shows how different Black South Africans, some law-abiding citizens, and others criminals, are unjustly affected by the institutionalized policy of racism.
The inevitability of the conflict around him forces Panic to make a decision between personal gain and helping the larger social movement. This mirrors the decision Mookie has to make in “Do the Right Thing” between his personal interests and the interests of his community.
“Mapantsula” is not available to watch online.
25. (TIE) “Au Hasard Balthazar” (Robert Bresson, 1966) and “The Wooden Camera” (2003), a South African drama by Ntshaveni Wa Luruli both involve a possession (a donkey in Bresson’s film; a camera in “The Wooden Camera”) that is passed between different individuals and influences their lives in significant ways.
In “Au Hasard Balthazar,” the donkey Balthazar is passed between various owners, most of whom treat him callously, as it serves as a silent witness to human cruelty and folly, but also to moments of kindness and love.
In “The Wooden Camera,” the camera found by two boys, Madiba and Sipho, becomes a tool for them to document their lives and surroundings. However, the camera also becomes a symbol of their diverging paths: Madiba uses it to capture the beauty and hope of his community, while Sipho uses it to record his crimes and violence.
So, while the two films are very different in terms of their setting and narrative, both explore themes of innocence, suffering, and the human condition and use their central object (the donkey, the camera) as a symbolic device to comment on human nature and society.
“The Wooden Camera” is not available for streaming.
25. (TIE) “The Night of the Hunter” (Charles Laughton, 1955) and “The Land” (1969), directed by Youssef Chahine from Egypt, both delve into themes of good versus evil, oppression, and resistance, showcasing the struggles faced by ordinary individuals against powerful and corrupt forces.
In “The Land,” the story revolves around a group of peasants who find themselves in a battle to protect their land from a greedy landlord and his corrupt allies who threaten their livelihoods.
Similar to “Night of the Hunter,” it explores the complexities of human nature within the context of a moral struggle. It highlights the contrast between the virtuous actions of the peasants and the greed and corruption of the landlord, presenting a nuanced portrayal of good and evil. And the film raises questions about power dynamics, social justice, and the importance of collective action in the face of injustice.
“The Land” is currently streaming on Netflix.
27. “Shoah” (Claude Lanzmann, 1985): Finding an African equivalent to “Shoah” is quite the challenge, but “The Black Man’s Land Trilogy” (1973), directed by Anthony Howarth and David R. Koff, offers a compelling African counterpart and complement.
“Shoah” is a renowned documentary that examines the Holocaust through interviews with survivors, witnesses, and perpetrators. It presents a comprehensive oral history of the genocide, offering a deeply personal and emotional exploration of the horrific event. Conversely, “The Black Man’s Land Trilogy,” while not directed by an African filmmaker, is a trio of documentary films that provide a poignant exploration of colonialism, nationalism, and revolution in Africa.
Filmed in Kenya and released in 1973, the three titles of the trilogy – “White Man’s Country,” “Mau Mau,” and “Kenyatta” – delve into the history of Kenya while resonating with the broader impacts of colonialism and its aftermath across Africa. Through interviews and testimonies, the films provide a detailed account of the effects of colonialism and the struggle for independence.
All three films, each about an hour long, are on YouTube. Here’s the first, “White Man’s Country.”
28. “Daisies” (Věra Chytilová, 1966): The Czechoslovak film directed by Chytilová, and “Les Saignantes” (2005), a Cameroonian film directed by Jean-Pierre Bekolo, share an experimental and absurdist approach to critique societal norms and structures. Both films center on women who push boundaries and challenge the status quo, making them intriguing complements to each other.
“Daisies” follows the anarchic pranks and games of two young women as they confront consumerism and traditional gender roles. Known for its non-linear structure, visual style, and humor, the film provides a satirical commentary on society.
On the other hand, “Les Saignantes” is set in a futuristic Cameroon (2025) and follows two sex workers who find themselves entangled in a complex predicament when a political leader dies while in the company of one of the women. The film uses this narrative to critique political corruption in Cameroon and challenge societal attitudes toward sex workers. It offers a fresh and daring perspective.
“Les Saignantes” is not available for streaming.
29. “Taxi Driver” (Martin Scorsese, 1976): “Tasuma, the Fighter” (2003), directed by Daniel Kollo Sanou from Burkina Faso, offers a distinct yet complementary perspective on themes of alienation, social injustice, and individual resistance, combining humor with social commentary. While set in different contexts, both films share an exploration of marginalized individuals navigating complex social structures.
In “Tasuma, the Fighter,” Sogo Sanou’s struggle against bureaucratic obstacles mirrors Travis Bickle’s battle against societal decay in “Taxi Driver.” Both protagonists experience profound alienation and detachment, struggling as men who find themselves marginalized within their respective societies.
Additionally, both films shed light on the systemic injustices prevalent in their cultures. Sogo’s fight for his promised pension reflects the larger struggle of war veterans denied their rightful benefits, while Travis becomes increasingly disturbed by the corruption he witnesses in a post-Vietnam War American society.
“Tasuma, the Fighter” is not streaming, but there might be a copy on YouTube.
30. “Portrait of a Lady on Fire” (Céline Sciamma, 2019): I would prefer to go with something much less obvious here, alas, pickings are slim. “Rafiki” (2018) directed by Wanuri Kahiu is set in Nairobi, Kenya, and tells the story of Kena and Ziki, two young women who develop a forbidden romantic relationship in the face of societal norms and conservative attitudes. Like “Portrait of a Lady on Fire,” “Rafiki” explores themes of “forbidden love,” self-discovery, and defying societal expectations.
Both films delve into the complexities of personal agency within restrictive environments, although in distinct cultural contexts, creating a strong sense of place. While “Portrait of a Lady on Fire” is set in 18th-century France and “Rafiki” takes place in contemporary Kenya, both narratives emphasize the yearning for connection and the defiance of patriarchal constraints.
They beautifully capture the emotional journeys of their characters as they navigate their desires and aspirations, challenging the limitations imposed upon them.
“Rafiki” is streaming on Kanopy and Plex.
31. (TIE) “Mirror” (Andrei Tarkovsky, 1975): “Mille Soleils” (“A Thousand Suns,” 2013), directed by Mati Diop, is a captivating docu-fiction that serves as an unexpected though profound African complement to Andrei Tarkovsky’s poetic and introspective exploration of memory, personal reflection, and the passage of time.
Through a blend of interviews, archival footage, and personal reflections, Diop’s film blurs the boundaries between reality and fiction, to offer a unique lens into the historical significance and enduring impact of her uncle, Senegalese giant Djibril Diop Mambéty’s iconic work, “Touki Bouki,” within African cinema. It celebrates Mambéty’s groundbreaking vision and provides a deeper understanding of the artistic spirit that connects “Mille Soleils” to Tarkovsky’s masterpiece.
As an alternative biography, “Mille Soleils” delves into the life and artistic journey of Mambéty, exploring his motivations, challenges, and the socio-political context that shaped his filmmaking. It intertwines personal narratives, cultural reflections, and the interplay between dreams, memories, historical events, and the passage of time — echoing the nonlinear narrative of “Mirror,” a journey that it finds an unexpected but resonant connection to.
The film serves as a testament to the enduring power of cinema to explore the complexities of the human experience and offers an engaging exploration of the artistic spirit that binds these two cinematic gems and the artistic legacies of two visionary filmmakers.
It’s a relationship that speaks to what this entire *experiment* is about: a reminder of the universal power of cinema, and the enduring impact of visionary storytelling across cultures and continents.
“Mille Soleils” is streaming on the Criterion Channel.
1 to 10|11 to 20|21 to 31|31 to 36|38 to 45|48 to 54|54 to 60|63 to 67|67 to 75|78 to 83|84 to 90|90 to 100
If you appreciate our coverage here and on social media and would like to support us, please consider donating today. Your contribution will help us continue to do our work in coverage of African cinema and, more importantly, grow the platform so that it reaches its potential, and our comprehensive vision for it. Thank you for being so supportive: https://gofund.me/013bc9f2
Pingback: A Journey Through Sight and Sound’s Top 100 Films and Their African Complements
Pingback: A Journey Through Sight and Sound’s Top 100 Films and Their African Complements