A Journey Through Sight and Sound’s Top 100 Films and Their African Complements (54 to 60) — Akoroko

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

Note: Compromises were made in the interest of time. It’s not that there isn’t a deep enough well of African film complements to consider; it’s actually the opposite. The possibilities are in fact quite vast, even in the most unique of scenarios. The challenge lies in the fact that most of these films, along with any accompanying documentation, are not easily accessible. My research is primarily conducted online, and many are films unavailable for streaming on any platform, even those with extensive libraries, or targeting niche audiences. Furthermore, if there is any documentation, plenty is being *held hostage* behind academic paywalls. This makes the process frustratingly, if unnecessarily challenging. I hope we can positively affect that.

All that said… the beat goes on.

54 – “Sherlock Jr.” (Buster Keaton, 1924) and “Paljas” (Katinka Heyns, 1998): While distinct in their cultural contexts and narratives, both films share a common exploration of the power of imagination and cinema. In “Sherlock Jr.”, the protagonist, a film projectionist, dreams of becoming a detective and enters the screen of the movie he is watching, performing stunts and solving a mystery. On the other hand, “Paljas,” an Afrikaans language South African film, is led by a clown left behind by a circus troupe who brings joy and wonder to a dysfunctional family living in a railway station, performing tricks and puppet shows that ease the routine of their daily lives.

In Keaton’s “Sherlock Jr.” a film projectionist escapes from his ordinary life in the city to a fantasy world of adventure and romance in the countryside, where he is a romantic hero. In contrast, “Paljas” disrupts the oppression of a family living in a remote desert by introducing them to a friendly, harmonious community in the town, where they are respected and accepted.

Additionally, both films explore themes of love, betrayal, and alienation in their own unique way. “Sherlock Jr.” depicts a young man alienated from his society, struggling with his inability to communicate or understand his own feelings, grappling with the conflicts between different cinematic traditions and styles that influence his aesthetics. In contrast, “Paljas” portrays an old man loyal to his family, his people, and his cause, able to communicate and understand his own suffering, dealing with the conflicts between different cultures, religions, and ideologies that influence his worldview.

Despite their differences, both films are testaments to the power of art as a medium for personal expression and social commentary.

54 – “Le Mépris” (“Contempt,” Jean-Luc Godard, 1963) and “Alexandre Pourquoi?” (“Alexandria… Why?”, Youssef Chahine, 1979): “Alexandria… Why?” and “Le Mépris” are two films that, while distinct in their cultural contexts (like every other pairing on this list) and narrative focus, share an exploration of cinema, politics, and culture as reflected by their respective directors.

“Le Mépris” mirrors Godard’s own marital crisis and artistic disillusionment during the making of the film. It provides commentary on the film industry and the role of the artist, depicting the protagonist’s struggle to adapt a novel for a Hollywood producer.

On the other hand, “Alexandria… Why?” is a semi-autobiographical meditation on Chahine’s youth in Alexandria, Egypt during World War II, telling a story about a young man torn between his love for cinema, his love for a Jewish girl, and his sense of belonging to a multicultural society threatened by war and nationalism. This was a period when Egypt was under British occupation and a melting pot of various cultures and ideologies.

Both films delve into the world of cinema, albeit in different ways. “Alexandria… Why?” specifically depicts the protagonist’s passion for cinema, and how he interacts with various figures from the world of Egyptian and international cinema, against a backdrop of rising nationalism and fascism in Egypt and abroad.

54 – “Blade Runner” (Ridley Scott, 1982) and “Mirt Sost Shi Amit” (“Harvest: 3,000 Years” Haile Gerima, 1976): Now this was a challenge of epic proportions. I ultimately decided to consider film complements in the context of their place in African cinematic history, given “Blade Runner’s” overall impact. So while the two films sharply differ in genre and narrative, they share some thematic elements and historical significance in their respective contexts.

Both represent significant contributions to their respective cinematic traditions. “Harvest: 3,000 Years” is one of the notable works of Ethiopian filmmaker Haile Gerima, who played a crucial role in the emergence of African cinema on the world stage.

They also delve into social and political issues within their respective contexts. “Harvest: 3,000 Years” examines the struggles of Ethiopian farmers under feudalistic systems — exploitation, poverty, and resistance. “Blade Runner,” on the other hand, raises questions about the nature of humanity and the consequences of a technologically advanced society on identity and connection.

Finally, both films a helmed by directors committed to their artistic vision and innovative storytelling techniques. For “Harvest: 3,000 Years,” it’s elements of neorealism, long takes, and naturalistic performances that immerse the audience in the rural Ethiopian landscape. “Blade Runner” offers striking visuals, intricate production design, and atmospheric cinematography, which largely explains its enduring visual appeal.

So, while “Harvest: 3,000 Years” and “Blade Runner” may differ wildly in style and setting, they both hold significance in film history. They offer insights into the human condition, raise social and political questions that still resonate today, and are showcases for the artistic achievements of their respective filmmakers.

59 – “Sans Soleil” (Chris Marker, 1983) and “The Last Angel of History” (John Akomfrah, 1996): Marker’s “Sans Soleil” is a documentary meditation on the nature of memory — specifically, the nuances of memory, and how, as a result, the perception of personal and world histories can be affected. The film travels across different locations, such as Japan, Guinea-Bissau (it features footage of Carnival in Bissau from Bissau-Guinean film pioneer Sana na N’hada), Iceland, and San Francisco, and reflects on topics such as war, revolution, cinema, and technology.

Meanwhile, Akomfrah’s “Last Angel of History” also takes viewers on a journey, although of a different kind, through time and space, weaving together interviews (with musicians, writers, and critics), archival footage, and fiction (a narrative about a time-traveling nomadic figure known as the Data Thief) to examine the concept of the “Black diaspora” and its relationship with technology and mythology.

Both films are indeed examples of innovative and unconventional forms of documentary filmmaking that edge against boundaries between fiction and reality and between past and present. They also share an interest in exploring the connections between different histories, and the role of media and technology in shaping them.

60 – “Daughters of the Dust” (Julie Dash, 1991) and “Po di Sangui” (“Tree of Blood,” Flora Gomes, 1996): Both films delve into the exploration of traditions and cultures within African and African-American communities, incorporating elements of fantasy and symbolism to offer a deeper understanding of their respective stories and themes.

While “Po di Sangui” is rooted in the context of a rural village in Guinea-Bissau, “Daughters of the Dust” takes place on an island off the coast of South Carolina, providing a different backdrop. The narratives also differ, with “Po di Sangui” focusing on the spiritual connection between children and trees, and “Daughters of the Dust” revolving around a family of women contemplating a significant move — the migration of the Gullah Geechee people living on the Sea Islands of South Carolina, contemplating leaving their ancestral home and moving to the mainland.

The influences of African oral literature and folklore in “Po di Sangui” and African-American history and literature in “Daughters of the Dust” further connect but also distinguish these films. As do the tonal differences, with “Po di Sangui” being more humorous and satirical and “Daughters of the Dust” being more lyrical and poetic.

Ultimately, both films offer valuable perspectives and insights into the African diaspora and its heritage, each in their unique way.

60 – “La Dolce Vita” (Federico Fellini, 1960) and “Al-Ard” (“The Land,” Youssef Chahine, 1969): This was yet another difficult challenge, and eventual compromise, made in the interest of time. Both films do offer rich and dynamic portraits of the social and political realities of their respective times and places, grappling with universal human concerns like morality, identity, and the search for meaning.

Complementing Fellini’s status as one of the greatest filmmakers of all time, “Al-Ard” is directed by one of Egyptian cinema’s most internationally recognized filmmakers in history. The drama is based on Abdel Rahman al-Sharqawi’s 1954 novel of the same name and chronicles the conflict between a group of working-class people and their landlord in rural Egypt in the 1930s. It explores the complex relationship between the needs of the individual versus the collective in response to oppression.

In comparison to “La Dolce Vita,” both films explore societal decay, albeit in different contexts. “La Dolce Vita” critiques the hedonistic lifestyle and moral decline in the setting of Italy’s elite, while “The Land” explores the struggles of the rural poor in Egypt.

“La Dolce Vita” is famous for its episodic narrative structure. While “The Land” doesn’t follow a similar episodic structure, it does present a series of events that depict the ongoing struggle between the peasants and their landlord, a narrative buildup that explores various aspects of their challenging lives.

Like much of Fellini’s work, “Vita” is visually rich and symbolic, most notably the scene of the statue of Christ being flown over Rome and the scene at the Trevi Fountain. “The Land,” on the other hand, uses a harsh rural landscape to create enduring images of the struggle and resilience of the people.

Both films are vastly different in contexts and deal with different societal issues, but they both offer critiques of the norms of their respective societies and the consequences of certain ideologies.

60 – “Moonlight” (Barry Jenkins, 2016) and “Dakan” (Mohamed Camara, 1997): Directed by Guinean filmmaker Camara, “Dakan” was an obvious choice in key respects, especially as a pioneering film that daringly, openly addresses homosexuality in an African context.

“Dakan” narrates the story of Manga and Sory, two young men in love, navigating societal and familial pressures in a country where homosexuality was, and still is taboo 25 years later, illegal and punishable by imprisonment and fines. “Moonlight” portrays the life of a young Black man in Florida over different eras, grappling with his identity and sexuality amidst adversity.

Both films use non-linear narratives to explore themes of personal journeys of self-discovery and acceptance. They also employ visual storytelling and naturalistic dialogue to express their protagonists’ internal conflicts. “Dakan” uses the crossroads motif, a transitional and transformative symbol in many African cultures, while “Moonlight” uses water and color to symbolize transformation and express emotion.

While both films share thematic similarities, they offer unique insights into their specific cultural contexts. “Dakan” explores homosexuality within the societal and traditional beliefs of Guinea, while “Moonlight” does so within a Floridian African-American community. Both ultimately challenge stereotypes and celebrate diversity, as well as the freedom that comes with a sense of identity.

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