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38 (TIE) – “À bout de souffle” (“Breathless,” Jean-Luc Godard, 1960) and “Touki Bouki” (Djibril Diop Mambéty, 1973): “Touki Bouki” is a Senegalese landmark of African cinema. Like “À bout de souffle”, it’s a film that broke with tradition and charted its own path. It tells the story of a young couple who dream of escaping to Paris, reflecting the post-colonial tension between tradition and change, and between Africa and the West.
Both films feature young protagonists who are dissatisfied with their lives and dream of running away, capturing the rebellious spirit and restless energy of youth.
They also challenge traditional narrative structures and showcase dynamic camera movements, vibrant cinematography, and a sense of visual flair that adds to their energy and visual impact.
Each deeply rooted in its own cultural context, both films have achieved significant recognition and attained iconic status, and have had a lasting impact on filmmakers worldwide.
“Touki Bouki” is streaming on Criterion Channel.
Here’s Scorsese on the seminal film.
38 (TIE) – “Some Like It Hot” (Billy Wilder, 1959) and “Kukurantumi: Road to Accra,” (King Ampaw, 1983): Billy Wilder’s classic is one of the toughest challenges yet, and there probably is a more suitable option. But, in the interest of time, Ghanaian trailblazer Ampaw’s dramedy will suffice.
While both are distinct in their settings and genres, they share thematic undercurrents. Each film centralizes a journey as a pivotal plot device, with characters embarking on transformative arcs filled with misadventures and other challenges.
Societal norms and expectations are examined, with “Some Like It Hot” humorously challenging 1920s American gender norms, and “Kukurantumi: Road to Accra” examining societal expectations around marriage, economic stability, and rural-to-urban migration in Ghana.
Additionally, relationships strained are a common thread, as characters navigate personal adversities that test their bonds.
Lastly, both films use humor as a device to explore themes and highlight life’s absurdities.
“Kukurantumi: Road to Accra” isn’t available to stream, although there is a good chance you’ll find a copy on YouTube.
38 (TIE) – “Rear Window” (Alfred Hitchcock, 1954) and “Number 37” (Nosipho Dumisa, 2018): South African filmmaker Dumisa has said that she was directly inspired by Hitchcock’s classic; the cultural context vastly differs. They share a central theme of voyeurism and the idea of a protagonist confined to their home who becomes a witness to a crime.
In “Rear Window”, the protagonist is confined due to a broken leg, while in “Number 37”, the protagonist is a paraplegic, as the protagonists are forced to rely on others to act on their behalf.
And in both films, the protagonists use binoculars to observe their neighbors, which leads them to witness the crime which sets the plot in motion and leads to a series of increasingly tense scenarios and eventually danger as the story progresses.
Furthermore, their voyeurism serves as commentary on the nature of their respective societies. “Rear Window” presents a microcosm of 1950s American society. Similarly, “Number 37” provides a glimpse into life in a Cape Town township, with its own unique set of societal challenges and dynamics. This adds a unique twist to the “Rear Window” premise and provides a fresh perspective on the themes of voyeurism and crime.
You are able to watch “Number 37” streaming on Crackle, Apple TV, Amazon Video, Google Play Movies, YouTube, and Vudu online.
41 (TIE) – “Bicycle Thieves” (Vittorio De Sica, 1948) and “La Noire De…” (“Black Girl,” Ousmane Sembène, 1966): Like “Breathless” and “Touki Bouki,” both “Bicycle Thieves” and “La Noire De…” are seminal works that have had a profound impact within their respective countries, continents, and the world. And they continue to be celebrated for their artistic achievements, cultural significance, and enduring relevance, especially in exploring human experiences and societal issues.
Both are poignant films that delve into themes of poverty, desperation, loss, search, and tragic endings. However, they address these themes from different cultural perspectives.
“La Noire De…” tells the story of Diouana, a Senegalese woman who moves to France with hopes of a better life, only to find herself in a desperate situation as a domestic worker treated like a slave. Her loss is more internal and existential, as she struggles to reclaim her sense of self.
Diouana’s relationship with Senegal can be seen as a metaphorical parent-child relationship that complements the father-son relationship in “Bicycle Thieves,” with her separation from her homeland causing a deep sense of loss and longing.
The film ends tragically with Diouana taking her own life, a stark commentary on the plight of African immigrants in France. While the ending of De Sica’s film is certainly sad and poignant, it’s not tragic in the sense of a total loss or a catastrophic event like Sembène’s. But it’s a loss nonetheless.
“La Noire De…” is widely accessible, including streaming on HBO MAX, Apple TV, Amazon Video, and others.
41 (TIE) – “Rashomon” (Akira Kurosawa, 1950) and “I Am Not a Witch” (Rungano Nyoni, 2017): Another difficult challenge. “Rashomon” is a truly unique and groundbreaking film that stands out for several reasons. An African equivalent or complement would offer a similar unique exploration of truth, perception, and human nature within an African cultural and historical context, telling a story that contributes to the richness of African cinema.
Nyoni’s feature debut tells the story of a young Zambian girl named Shula, who is accused of witchcraft and subsequently sent to a witch camp, where she must contend with the challenges and complexities of her new life.
“I Am Not a Witch” is significant in its cinematic context, notable for its critique of Zambian society — particularly the issue of witchcraft accusations and gender roles — and its exploration of gender roles. Via non-linear narratives, the unique “Afrincan-futurist satire” film without many African equivalents of its own, explores complex themes and challenges the viewer’s understanding of truth and reality.
While the two films are distinct in their storytelling, themes, and cultural contexts, they share similarities in how they use narrative techniques and themes to explore societal issues.
“I Am Not a Witch” is streaming on AMC+, Film Movement Plus, Tubi TV, Pluto TV, Freevee, Amazon Video, Vudu, Google Play Movies, YouTube, and Apple TV.
43 (TIE) – “Stalker” (Andrei Tarkovsky, 1979) and “Wanderers of the Desert” (“El-Haimoune,” Nacer Khemir, 1986): Nacer Khemir’s captivating Tunisian film is set against the striking backdrop of the Tunisian desert, and follows a young teacher who finds himself in a remote village where education is a foreign concept. The teacher becomes engrossed in the stories and legends of the desert dwellers, leading him on a mystical quest through the dimensions of time and space in search of a fabled hidden treasure believed to bestow immortality and omniscience.
Like “Stalker,” “Wanderers of the Desert” uses a protagonist’s journey to explore existential themes and inspire thought and reflection on what it means to be human. Both films also share character experiences and transformations, as well as philosophical conversations and reflections that provide a stimulating cinematic experience. Additionally, their respective explorations of existential themes and the human condition, measured pace, and their use of a journey as a metaphor for self-discovery and philosophical inquiry make them complementary cinematic works.
Watch “Wanderers of the Desert” streaming on Fandor Amazon Channel.
43 (TIE) – “Killer of Sheep” (Charles Burnett, 1977) and “Wend Kuuni” (Gaston Kaboré, 1982): As a neorealist film that depicts the everyday life of a working-class African American family in Watts, Burnett’s masterwork boasts many African complements, if only because there are many African films that share similar characteristics.
Burkinabé filmmaker Kaboré’s “Wend Kuuni” is one of many that shares these similarities albeit in a different context. Both films provide a window into the lives of people within their respective communities, presenting an authentic and realistic portrayal of their experiences.
“Wend Kuuni,” which translates to “God’s Gift,” offers a glimpse into the life and traditions of the Mossi people in pre-colonial Burkina Faso. The film tells the story of a mute boy found in the savanna who is adopted by a village family. His journey of self-discovery and the eventual recovery of his speech offers an exploration of identity and belonging.
Both films offer poignant portrayals of marginalized communities and the human experiences within them — their struggles, dreams, and resilience in the face of challenging circumstances — inviting empathy, reflection, and a deeper understanding.
Watch “God’s Gift” streaming on Kanopy for free.
45 (TIE) – “North by Northwest” (Alfred Hitchcock, 1959) and “The Nightingale’s Prayer” (“Doa al karawan,” Henry Barakat, 1959): This was yet another difficult challenge, and there might be a more suitable complement. But spy thrillers with adventure and romance are not exactly common elements found in African cinema; certainly not simultaneously.
Coincidentally released in the same year as Hitchcock’s classic, “The Nightingale’s Prayer” is an Egyptian film that tells the story of Amna, a young woman who disguises herself as a maid to infiltrate the home of the man responsible for her sister’s death. She plans to seek revenge but finds herself falling in love with him.
This matter of identity swapping is not quite the same as the case of mistaken identity in “North by Northwest,” but, like Hitchcock’s thriller, drives the plot of the film and leads to a series of dramatic events.
“The Nightingale’s Prayer” is primarily a drama, while “North by Northwest” is a spy thriller, and the setting and cultural context of the films differs significantly. But both films are visually captivating, and each has been recognized for their impact and contribution to their respective cinemas.
“The Nightingale’s Prayer” is considered one of Egypt’s greatest films, while “North by Northwest” is considered a classic in American and world cinema.
“The Nightingale’s Prayer” is not available to stream. But there’s a copy on YouTube.
The trailer below is fan-made and not the actual trailer.
45 (TIE) – “The Battle of Algiers” (Gillo Pontecorvo, 1966) and “Les Misérables”, Ladj Ly, 2019): Pontecorvo’s masterpiece, which does tell an African story, is a landmark work of political cinema that has influenced countless filmmakers, and arguably has no equivalent in world cinema.
However, there are films that share similar themes or stylistic approaches that also tackle the complexities or remnants of African political struggles, albeit in different contexts, offering their own unique perspective.
While prioritizing earlier films is a goal of this experiment, Ly’s “Les Misérables” stands as a compelling choice of an African (Afropean) equivalent or complement to “The Battle of Algiers.”
Both films explore themes of social injustice, oppression, and the struggle for justice within the context of African-colonial narratives, past and present. While “The Battle of Algiers” focuses on the Algerian struggle for independence from French colonial rule, “Les Misérables” delves into the contemporary issues of social inequality and police violence in the marginalized communities of Paris, particularly highlighting the experiences of African communities.
Stylistically, “Algiers” employs a documentary-like realism with its black-and-white cinematography and gritty settings, while “Les Misérables” takes a modern and visually dynamic approach, utilizing vibrant colors and kinetic camera work to depict the complexities of urban life. Both films provide viewers with immersive experiences.
“Les Misérables” is streaming on Amazon Prime Video or for free with ads on Freevee.
45 – “Barry Lyndon” (Stanley Kubrick, 1975) and “Xala” (Ousmane Sembène, 1975): Another difficult challenge as every Kubrick film on this list has been; and another pairing of films released in the same year.
“Xala” complements “Barry Lyndon” in terms of its thematic exploration of social status, ambition, greed, and the corrupting influence of wealth and power. Both films delve into the consequences that come with the pursuit of material wealth and social climbing.
In “Xala,” the story revolves around El Hadji, a wealthy businessman who experiences impotence on the day of his third marriage. This becomes a metaphor for his loss of power and influence, leading to a downfall while exposing the underlying corruption within a post-colonial African society. Similarly, “Barry Lyndon” portrays the rise and fall of its eponymous protagonist, as he navigates the world of rising social status and contends with its pitfalls.
One can appreciate the parallel themes and narratives that explore the human condition within different cultural and historical contexts.
“Xala” is not available to stream. There’s probably a copy on YouTube.
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