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NOTE: For this set, I prioritized North African films.
78 (TIE) – “A Brighter Summer Day” (Edward Yang Wechma, 1991) and “Wechma” (Hamid Benani, 1970): “Wechma” and “A Brighter Summer Day” are both films that delve into the themes of youth, rebellion, and societal pressures, depicting the struggles of young men who find themselves entangled in violence and crime. However, the cultural contexts and narrative styles of the two films are quite different.
“Wechma” is set in Morocco and tells the story of an orphan named Messaoud who is adopted by a childless farmer. The harsh discipline of his adoptive father leads Messaoud into a life of rebellion and crime. The film experiments with style, using symbolism and fantastical sequences to tell its story.
It’s a more abstract approach to storytelling, which can be seen as a reflection of the complex socio-political dynamics of Morocco at the time.
The narrative style of “A Brighter Summer Day” is more linear and realistic, reflecting the direct and tangible impacts of societal pressures. In the case of “Wechma,” its style may also suggest a deeper exploration of the psychological impacts of societal pressures on individuals.
78 (TIE) – “Sátántangó” (Béla Tarr, 1994) and “L’Opium et le Bâton” (“The Opium and the Stick,” Ahmed Rachedi, 1971): “L’Opium et le Bâton” is an Algerian drama that narrates the story of a village in Kabylie that joins the National Liberation Front (FLN) during the Algerian War of Independence. The film depicts the hardships, sacrifices, courage, and solidarity of the villagers.
Like “Sátántangó,” Rachedi’s film is characterized by long takes, slow pacing, and bleak atmospheres. “L’Opium et le Bâton” may not have the epic running time of “Sátántangó,” but it does use long shots and minimal editing to create a realistic and immersive depiction of the war.
Additionally, both films also deal with themes of violence, corruption, and betrayal. “L’Opium et le Bâton” shows how the villagers are oppressed and exploited by the French colonial forces, and how some of them collaborate with the enemy or abandon their cause. On the other hand, “Sátántangó” shows how the villagers are deceived and manipulated by Irimiás, a charismatic and cunning leader who plans to take their money and leave them.
Lastly, both films are based on novels by acclaimed authors. “L’Opium et le Bâton” is based on a novel by Mouloud Mammeri, a prominent Algerian writer and anthropologist. “Sátántangó” is based on a novel by László Krasznahorkai, a renowned Hungarian writer and winner of the Man Booker International Prize.
78 (TIE) – “Céline and Julie Go Boating” (Jacques Rivette, 1974) and “El-Keif” (“The High,” Ali Abdel-Khalek, 1985): One of the most celebrated Egyptian films, “The High” is a comedic satire that critically examines the decline of moral standards in Egyptian society. The story centers around a chemist who attempts to manipulate his aimless brother with a non-narcotic drug he concocts, hoping to demonstrate the illusory nature of drug-induced experiences. His brother, however, seizes the opportunity to persuade him to manufacture the substance for a rapacious drug lord.
In some respects, “The High” shares thematic and stylistic similarities with “Céline and Julie Go Boating.” Both films explore imagination, identity, and storytelling. In “The High,” the chemist and his brother manufacture various scenarios and personas influenced by their drug-induced hallucinations.
Conversely, in “Céline and Julie Go Boating,” the title characters have fun swapping identities while living together, increasingly indulging in fantasy play, until they stumble upon a mysterious house, within which they observe a peculiar drama unfold.
Moreover, both films use humor and satire to critique societal and economic issues. In the case of “The High,” it highlights the absurdity of the corruption, greed, and violence prevalent in Egyptian society.
78 (TIE) – “Modern Times” (Charlie Chaplin, 1936) and “Kit Kat” (Daoud Abdel Sayed, 1991): In the Egyptian dramedy, Sheikh Hosni, a blind man in the Al-Kit Kat neighborhood of Giza, Egypt, lives with his mother and son, and spends his days indulging in hashish, immersed in dreams of riding a motorcycle. These fantasies serve as a coping mechanism for his blindness and the grief of losing his wife.
In several ways, “Kit Kat” shares striking similarities with Chaplin’s well-known “Modern Times.” Both films use humor and satire to critique socioeconomic issues. “Kit Kat” satirizes the corruption, greed, and violence inherent in Egyptian society at the time, highlighting the absurdities of the situation. In contrast, “Modern Times” lampoons the industrialization, mechanization, and dehumanization that characterize modernity.
Also, both films center protagonists considered outsiders and misfits within their respective contexts. Sheikh Hosni, despite his blindness, refuses to accept his disability and strives to lead a normal life. Similarly, The Tramp, a factory worker in the fast-paced, chaotic “Modern Times,” grapples with adapting to a world dominated by machines.
Additionally, like in Chaplic’s film, “Kit Kat’s” protagonist pursues love despite his grim circumstances. Sheikh Hosni harbors romantic feelings for Fatima, a divorced woman who also lives in the Kit Kat neighborhood.
78 (TIE) – “Sunset Blvd” (Billy Wilder, 1950) and “El-Lailah el-Akhirah” (“Last Night,” Kamal El Sheikh, 1964): The latter is an Egyptian mystery film about a woman who, after a 15-year lapse in memory due to a bomb blast, finds herself married to her brother-in-law. Like Wilder’s classic, Sheikh’s “The Night” explores themes of fame, illusion, exploitation, memory, and nostalgia, albeit in of course a much different cultural context, but also style.
In both films, the protagonists grapple with distorted realities and the fleeting nature of fame. Norma Desmond in “Sunset Blvd” clings to her past glory, leading to tragedy, while Nadia in “The Night” struggles with a 15-year memory gap and haunting flashbacks of her famous sister.
Memory and nostalgia also play significant roles in both films, shaping the characters’ identities and influencing their actions. Each employs flashbacks and music to evoke nostalgia and illustrate how memory, recalling past experiences, can both influence future actions, but can also be perilous. Negative or traumatic memories can lead to emotional distress and prevent us from embracing new opportunities or perspectives.
Both are visually cinematic masterpieces.
78 (TIE) – “A Matter of Life and Death” (Michael Powell and Emeric Pressburger, 1946) and “La Boîte Magique” (“The Magic Box,” Ridha Behi, 2002): Celebrated veteran Tunisian filmmaker Behi’s “The Magic Box” follows Raouf, a filmmaker who embarks on an autobiographical film project about his childhood. This project serves as a refuge from his personal life and allows him to revisit formative moments that ignited his love for cinema.
“A Matter of Life and Death” tells the story of Peter Carter, a World War II pilot who survives a plane crash and falls in love with a radio operator. He challenges his fate in a celestial court, with his life hanging in the balance.
Both films pay tribute to the magic of cinema and how it influences the characters’ lives. They incorporate dream sequences, musical numbers, and narratives of star-crossed lovers.
Additionally, each mixes color and black-and-white cinematography for contrast and symbolism. They feature scenes where the characters watch or create films that are relevant to their stories, and express their emotions through song or dance.
Finally, they feature love stories that transcend time and space. In “A Matter of Life and Death,” Peter and June’s love is tested by fate and destiny. In “The Magic Box,” Raouf reconnects with his first love Sonia through his film project, and, with their memories, they rekindle their love.
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