A Journey Through Sight and Sound’s Top 100 Films and Their African Complements (90 to 100) — 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 (TIE) – “Madame de…” (Max Ophüls, 1953) and “The Battle Of The Sacred Tree” (Wanjiru Kinyanjui, 1995): Kinyanjui’s most notable work revolves around the titular sacred tree in a Kenyan village that holds significant traditional value. The tree holds a mysterious influence over the community, especially the women.

Ophüls’s “Madame de…” revolves around a pair of earrings and the societal facades maintained by its characters.

While on the surface, the two films might seem vastly different, they share the use of central objects as symbols with significant meaning in the narrative.

In “Madame de…”, the earrings are not just pieces of jewelry; they become emblematic of Madame’s superficiality, the fragility of her marriage, and the societal facades she’s compelled to maintain. As the earrings change hands, they weave a web of love and betrayal, reflecting the expectations in the aristocratic world of the film.

Conversely, in “The Battle of the Sacred Tree”, the tree is a powerful symbol of tradition and the cultural heritage of the community. It’s a testament to the village’s age-old customs and spiritual significance, especially for the women. As the younger generation begins to challenge the beliefs associated with the tree, it becomes a focal point of tension between tradition and change, past and present.

90 (TIE) – “The Leopard” (Luchino Visconti, 1962) and “Ceddo” (Ousmane Sembène, 1977): Ousmane Sembène’s “Ceddo” takes place in 17th-century Senegal and portrays the resistance of the local community to Islamic and European influence. The film explores the struggle to preserve traditional ways of life in the face of external pressures.

It’s a unique perspective on African history and the impact of religious and colonial pressures.

The complementary aspects between “The Leopard” and “Ceddo” lie in their exploration of historical transformation, the struggle to preserve tradition, and the dynamics of class and power.

Both films are concerned with significant sociopolitical changes within their respective societies. For “The Leopard,” it’s the decline of the aristocracy in Italy; and for “Ceddo,” it’s the resistance to outside pressures by traditional community structures in Senegal.

90 (TIE) – “Ugetsu” (Mizoguchi Kenji, 1953) and “Tajouj” (Gadalla Gubara, 1977): Both films converge in their exploration of love, societal expectations, and the supernatural.

Mizoguchi’s “Ugetsu” is set in war-torn 16th-century Japan and follows two ambitious men who leave their wives in pursuit of wealth and glory, encountering ghostly apparitions, with one of them falling for a mysterious woman in a haunted mansion.

On the other hand, Gubara’s “Tajouj,” rooted in the traditions and landscapes of Sudan, revolves around Tajouj, a woman who challenges societal norms by resisting a forced marriage. She becomes a symbol of defiance against oppressive customs. The supernatural in “Tajouj” is more subtle, embedded in the cultural beliefs and practices that dictate the lives of the characters.

Both films, in their unique ways, tackle the intricacies of love. Together, they offer a rich tapestry of human emotions, social norms, and varying degrees of the ethereal, making them compelling world cinema complements.

https://youtu.be/f0935aWOj0M

90 (TIE): “Parasite” (Bong Joon Ho, 2019) and “Ilhéu da Contenda” (“The Island of Contenda,” Leão Lopes, 1996): Lopes’s “The Island of Contenda” is set in Cape Verde and centers the story of a family feud over land inheritance, delving into themes of power, greed, colonialism, and the tension between tradition and change (if it’s not clear by now, this is a prevalent theme).

In contrast, Bong Joon Ho’s “Parasite” follows the impoverished South Korean Kim family as they ingeniously infiltrate the affluent Park family, touching on themes of class, deception, and family dynamics.

Both films offer a profound critique of social structures. “The Island of Contenda” examines the ramifications of greed and colonial legacy, while “Parasite” underscores class divisions and the desperation that can result.

Central to both films are intricate family relations; in Lopes’s film, familial ties are tested by inheritance disputes, whereas in “Parasite,” the family’s unity becomes their greatest asset and vulnerability.

Furthermore, the characters in both films navigate morally ambiguous territory, driven by deep-seated desires that push them into ethically questionable decisions.

90 (TIE) – “YiYi” (Edward Yang, 2000) and “Tilai” (Idrissa Ouedraogo, 1990): At the heart of both films are intricate family dynamics; “Tilai” navigates honor, tradition, and morality within a family structure, while “YiYi” offers a panoramic view of a Taiwanese family grappling with change.

Each film serves as a window into its respective culture: “Tilai” immerses viewers in the traditions of Burkina Faso, and “YiYi” paints a portrait of contemporary Taiwanese society.

Furthermore, characters in both stories confront moral dilemmas: “Tilai” wrestles with forbidden love and the tension between tradition and personal desire, while “YiYi” digs into the ethical challenges of urban life, encompassing business, love, and self-realization.

While “Tilai” employs a more linear storytelling approach, “YiYi” is celebrated for its layered narrative and deep character exploration.

95 (TIE) – “A Man Escaped” (Robert Bresson, 1956) and “Amok” (Souheil Ben-Barka, 1983): Both films tackle themes of oppression and resistance, albeit in different contexts. “Amok” explores colonial exploitation in Southern Africa, focusing on the struggles of the indigenous population against foreign control. “A Man Escaped,” on the other hand, tells the story of a French Resistance fighter’s escape from a Nazi prison, symbolizing the broader fight against fascist oppression.

In both films, the protagonists are driven by a profound sense of human dignity and a determination to resist their oppressors. The characters’ struggles are not just physical but also moral and existential, reflecting a deeper quest for freedom, justice, and self-determination.

Both directors, Ben-Barka and Bresson, are known for their commitment to realism and authenticity. Bresson’s minimalist style and use of non-professional actors create a raw and immediate experience, while Ben-Barka’s portrayal of colonialism is grounded in historical and social realities.

“Amok” is more explicitly political, critiquing the colonial system and its devastating impact on African societies. However, both films offer powerful commentary on the universal struggle for dignity and rights.

95 (TIE) – “The General” (Buster Keaton, 1926) and “Akasha” (Hajooj Kuka, 2018): “Akasha” is a comedy set in the Nuba Mountains of Sudan during a ceasefire in the civil war. The story revolves around a revolutionary war hero, and his friends as they navigate love, war, and their AK-47s. The film humorously explores the daily life of these young people, their relationships, and the absurdities of war. It’s a unique take on how people continue to live and laugh even in the midst of conflict.

Keaton’s silent film classic is renowned for its comedic stunts, innovative cinematography, and Keaton’s signature deadpan humor. While it’s set against the backdrop of war, the film primarily focuses on the comedic adventures of its protagonist.

In terms of their use of comedy to explore their themes, while “The General” relies on slapstick humor and physical comedy, “Akasha” employs situational comedy. Both films, though set in different cultural and historical contexts, showcase the resilience of the human spirit and the ability to find humor even in dire situations.

The juxtaposition of love and war serves as a central theme in both, highlighting the universality of these experiences across time and space.

95 (TIE) – “Once Upon a Time in the West” (Sergio Leone, 1968) and “Daresalam” (Issa Serge Coelo, 2000): Both, masterpieces for each director, wrestle with the heart of societal upheaval and the human cost of progress and conflict.

Leone’s “Once Upon a Time in the West” is an epic Western that tells a sprawling tale of revenge, ambition, and encroachment in the American West. The film explores the clash between the old frontier ways and the new industrial age, with characters caught in a web of personal vendettas.

On the other hand, Coelo’s “Daresalam” is set in Chad during its civil war, focusing on two friends who find themselves on opposing sides of the conflict. The film delves deep into the personal and social ramifications of war, highlighting the fragmentation of communities and the erosion of longstanding friendships.

Much like the American West’s transformation in Leone’s film, “Daresalam” portrays a nation in turmoil, with traditional ways of life disrupted by political strife.

The juxtaposition of the American frontier and war-torn Chad provides a compelling tapestry of storytelling that underscores the universality of human experiences in the wake of societal change and upheaval.

95 (TIE) – “Get Out” (Jordan Peele, 2017) and “Quand les étoiles rencontrent la mer” (“When the Stars Meet the Sea,” Raymond Rajaonarivelo, 1996): Both converge in their exploration of social challenges and expectations, and individual destiny.

“Get Out” is a sharp critique of modern-day racism in America, particularly the commodification and fetishization of Black bodies. Through its horror-thriller lens, the film digs deep into the insidious nature of racism, revealing the lengths to which society can go to maintain and exploit racial hierarchies.

On the other hand, “Quand les étoiles rencontrent la mer” is set against the backdrop of Malagasy culture and traditions. The film tells the story of a boy born during a solar eclipse, a phenomenon believed to bestow upon him special powers but also a curse that limits his life to 25 years.

As he grapples with his predetermined fate, the narrative unfolds, exploring the weight of societal beliefs, the concept of destiny, and the individual’s quest for agency.

While “Get Out” uses the horror genre to shed light on the horrors of racism, “Quand les étoiles rencontrent la mer” uses drama to highlight the challenges of navigating social superstitions and beliefs.

95 (TIE) – “Black Girl” (Ousmane Sembène, 1965) and “Finzan” (Cheick Oumar Sissoko, 1989): Each film, classics of African cinema, offers a deep dive into themes of feminism and women’s rights within different African contexts.

Both films serve as potent social commentaries. “Finzan” spotlights the rebellion of two Malian women against oppressive traditions and gender biases; while “Black Girl” narrates the struggles of a Senegalese maid in France, offering a searing critique of neocolonialism and the exploitation inherent in post-colonial dynamics.

The temporal contexts of the films differ, with “Black Girl” echoing post-colonial sentiments of the 1960s and “Finzan” reflecting gender and traditional concerns of the late 1980s. But both narratives also grant viewers a glimpse into distinct African cultures, with “Finzan” delving into Malian customs and “Black Girl” examining the (still) complex relationship between Senegal and France.

As pillars of African cinema, both directors, Sembène and Sissoko, have significantly shaped global perceptions of African cultures. Collectively, these films offer comprehensive explorations of African women’s stories.

95 (TIE) – “Tropical Malady” (Apichatpong Weerasethakul, 2004) and “Sia, le rêve du python” (Dani Kouyaté, 2001): Both films masterfully intertwine reality with folklore, offering stories that oscillate between the tangible world and the mystical realm.

Each film uses a bifurcated narrative structure: “Tropical Malady” is split into a tender love story and a mythical hunt in the Thai jungle, while “Sia” begins as a political drama about a village’s decision to sacrifice a virgin for prosperity, then delves into the legend that inspired the decision.

Deeply rooted in their respective cultural contexts, “Tropical Malady” draws from Thai folklore, while “Sia,” based on a seventh-century myth of the Wagadu people of Western Africa, is anchored in those traditions.

Furthermore, both films challenge the audience’s perception of reality, with “Tropical Malady” blurring the lines between the real and the imagined, and “Sia” juxtaposing political drama with ancient legend.

Evocative images underscore each narrative, with the dense Thai jungle in “Tropical Malady” creating a mysterious atmosphere, and the vast landscapes of West Africa in “Sia.”

At their core, both films explore human desires and the sacrifices made for them.

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

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