thomas sankara the upright man

6th March 2014 at 7pm

Thomas Sankara: The Upright Man (2006)
Running time: 52 minutes
Director: Robin Shu­­ffield (Belgium)

Conversation on a Sunday Afternoon (2005)
Running time: 80 minutes
Directed by Khalo Matabane

Touki Bouki - Film poster

13th March 2014 at 7pm
 
Touki Bouki (1973)
Running time: 95 minutes
Directed by Djibril Diop Mambety (1945-1989)

Xala -Film poster

20th March 2014 at 7pm

Xala (1975)
Running time: 123 min
Director: Ousmane Sembène (1923 – 2007)

During the exhibition A Squatter at Tenthaus there will be a rare chance to see award winning films relevant to the intellectual foundations of the LoCA project. The exhibition and film program is located at Maridalsveien 3, Oslo. 1.03 - 23.03 2014

 
 
 
MORE ABOUT THE FILMS

Touki Bouki (1973)
Hyénes (1992)
Director: Djibril Diop Mambety (1945- 1989)

Mambety was a Sengeleese, director, actor, orator, composer and poet.

African Studies scholar Sheila Petty says, "unlike other African filmmakers of the late 1960s and early 1970s whose films were structured around essentialist nationalist discourse focused on the binary opposition of African values versus cultural alienation, Mambéty sought to expose the diversity of real life". His films were an expression of an African sensibility neither locked into narrow nationalism nor into colonial French culture. Instead of rejecting or elevating one as more or less authentically African, Mambéty confronted and engaged with postindependent Africa's complexities and contradictions.

In 1973, Mambety released his masterpiece, Touki Bouki [The hyena's journey], a tour de force of narrative and technical sophistication. It combined the styles of Mambety's first two films, marrying montage and narrative, challenging audiences with its unconventional collage of political and sexual images, enticing them with its story and its use of color and music.

Hyènes was conceived as the second installment of Touki Bouki, of a trilogy on power and insanity. The grand theme, once again, is human greed. As Mambety himself observed, the story shows how neocolonial relations in Africa are "betraying the hopes of independence for the false promises of Western materialism," and how Africans have been corrupted by that materialism. We follow Linguère Ramatou, a wealthy woman who returns from abroad to the desolate village of Colobane, her birthplace--and Mambety's,

Thomas Sankara: The Upright Man (2006)
Director: Robin Shu­­ffield (Belgium)

Sankara, a charismatic army captain, came to power in Burkina Faso, in 1983. He immediately launched the most ambitious program for social and economic change ever attempted on the African continent. To symbolize this rebirth, he renamed his country from the French colonial Upper Volta to Burkina Faso, “Land of Upright Men.”
Sankara was one of the first to recognize that key to the development of Burkina Faso and Africa was improving the status of women. As the first African leader to appoint women to major cabinet positions and to recruit them actively for the military, he outlawed forced marriages and encouraged women to work outside the home and stay in school even if pregnant.

As Africa looks desperately for leaders of integrity and vision, the life and ideals of the late Thomas Sankara is more relevant and exemplary with the passage of time. Sankara is still venerated on his own continent as the “African Che,” a legendary martyr. This is a detailed documentary of Sankara's brief four-year rule and revolutionary program for African self-reliance.

Xala (1975)
Director: Ousmane Sembène (1923 – 2007)

A highly comical political satire describing the corruption in African post-independent governments. Xala is based on the Wolof word for temporary sexual impotance. El Hadji (the pilgrim) the main character suffers from impotence from the day that he marries his third wife.

Ethiopian film scholar Teshome H. Gabriel reads the main character El Hadji as the prototype of the emerging African bourgeoisie, who politically and economically destroy the continent, in the name of "African Socialism" and "Progress." He further suggests that Sembene is describing, this new class of nouveau riche in Africa as presenting a much more sinister force than the openly exploitative European colonialists. Formerly the colonialists could be readily identified by race, language, dress, custom, manner of worship, etc. In contrast, the new enemy insidiously shares all the Africans' outward aspects and cultural attributes and has assumed his inimical role through a conscious political choice.
 
Conversation on a Sunday Afternoon (2005)
Director: Khalo Matabane

Khalo Matabane is a South African director and writer. These conversations look at the global refugee problem, by focusing on the situation in Johannesburg. Against a fictional backstory of a journalist/poet searching for a woman he meets in a park, we hear true-life stories from a variety of African and non-African refugees, who have fled problems in their home countries for a new life in South Africa.