You might have seen Saving Private Ryan or Apocalypse Now but how many female fronted war films have you seen? Flame follows two young women who leave their rural village to join the Zimbabwean fight for liberation. However, their fight isn’t just for an independent Zimbabwe free from colonial influence, but also a fight for female liberation from the abuse and subjugation of the patriarchy.
If you’re looking for a snapshot of the people’s struggle for Angolan independence, you’ve come to the right place. Sambizanga follows a woman as she tries to track down her husband with her newborn baby. Meanwhile, in the background, the Angolan liberation movement slowly builds momentum. The director, Sarah Maldoror, worked with Gillo Pontecurvo on The Battle of Algiers before directing Sambizanga so it’s no surprise there are plenty of links between the two. If you need another reason to watch, it’s also one of the first feature films directed by a woman of colour.
Drugs, corruption, and extra-marital affairs feature in this Kenyan thriller centred around a macho politician. If you’re looking for excitement, danger, and a token white guy, this film is for you. Check it out here on Netflix.
Why Watch Veve?
To meet one of Kenya’s ‘Big Men’
Learn what Veve is (known elsewhere as Khat)
For a token white guy
See how to defeat unions and oppress farmers
The Breakdown
People picking trees, leaves filling sacks, sacks thrown onto trucks, money changing hands… Veve starts with some quick cuts showing the distribution of veve from the trees it grows on to Kenya’s cities. Along the way it passes through a bunch of middle men and check points. You’ll also see money changing hands a few times along the way, but who does the money end up with?
The next scene reveals the prime candidate behind the drug-trafficking. Meet Amos, a local member of parliament campaigning to become governor of the region. Judged on first impressions, he’s a friendly husband who is popular in the region he is campaigning to govern. However, there’s more to Amos that meets the eye.
Firstly, you’ll see how he uses intimidation to try and guarantee votes. He tries to extort local businessmen as well as threaten farmers to vote for him. Secondly, you’ll witness his machismo. The director intentionally shows him criticise his wife for buying scented body lotion and chide his secretary for playing kid’s puzzles. Just in case that’s too subtle, he’s also cheating on his wife. He’s not a nice man.
Conclusion and What to Watch Next
By giving Amos the characteristics of the ‘big man’ politician the director uses Amos to critique the power hungry men in Kenyan politics. It’s a subtle warning carried in a thrilling film well worth watching.
If you want to see more African ‘big men’ on screen, check out Last King of Scotland, a political thriller with Forrest Whitaker playing Ugandan dictator Idi Amin.
Or if you want to see African films with more violence and corruption, check out Beasts of No Nation featuring kid soldiers in an unnamed African country. You can also check out the living perpetrators of the Liberian Civil War in Fragment 53.
Dakan is the first Sub-Saharan African film to deal with homosexuality. The focus of the film is the plight of two high school lovers in a society rejects them. They don’t fit into traditional or modern Guinean society, shown through Manga’s ‘traditional’ mother and Sori’s ‘modern’ father. As a result, they’re condemned to a life without love.
Dakan experienced a lot of protests in Guinea during its production, and once you see the first scene, you’ll understand why. For many countries around the world, homosexuality is taboo or illegal, so to have an opening scene of two men making out in an orange convertible like a scene from an American hetero high school romance is a bit of a shock for the world’s conservative viewers.
The two lovers are both high school students hoping to get into university. They openly show affection for each other at school, where they are largely accepted and left alone, but at home their relationship provides a source of friction for their parents. For Manga’s single mother, she sees Manga’s relationship with Sori as a curse that will deprive her of grandchildren. In contrast, Sori’s father sees Sori’s relationship with Manga as a distraction from his studies and his prosperous future in business.
They also differ in their way of stopping their son’s relationship. Manga’s mum relies on traditional methods, sending Manga away to a traditional witch doctor to be cured. In contrast, Sori’s father, a ‘modern’ businessman, sends Sori to work for him in his company. However, neither route changes how they feel about each other. Their solemn faces throughout the film only emphasizes that there is no place for them in a traditional society founded on the family, or a ‘modern’ society founded on economic growth. There’s no place for their love in Guinea.
Overall Dakan is a good African film that uses homophobia to talk about the common African and third cinema tropes of modernity and tradition. There was a moment in Dakan where I feared the film would turn into an HIV disaster film like Kijiji Changu but fortunately Mohamed Camara doesn’t diminish the relatively progressive portrayal of homosexuality in Africa.
What to Watch Next
If you’re looking for more films from the global south that portray homosexual relationships in countries that don’t have a place for it, check out Jose from Guatemala and Rafiki from Kenya.
Or for more witch doctors trying to cure people in Africa, Zambia’s unique I Am Not A Witch is a must watch.
Finally for more films that feature Romeo + Juliet relationships that are forbidden by society, check out Tanna, featuring an controversial relationship that crosses tribes in Vanuata.
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