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Touki Bouki
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Touki Bouki
Touki Bouki (pronounced [t̺ukˑi bukˑi], Wolof for The Journey of the Hyena) is a 1973 Senegalese drama film written and directed by Djibril Diop Mambéty. It was screened at the 1973 Cannes Film Festival and the 8th Moscow International Film Festival.
In 2008, Touki Bouki was restored by the World Cinema Foundation at the Cineteca di Bologna / L'Immagine Ritrovata Laboratory. In 2022, it was ranked as the 66th greatest film of all time in the Sight and Sound Critic's Poll.
Mory, a cowherd who rides a motorcycle adorned with a bull-horned skull, meets Anta, a student, in Dakar. Disillusioned and weary of life in Senegal, they dream of escaping to Paris and devise various schemes to raise money for their journey.
Mory eventually succeeds in stealing money and a large amount of clothing from the home of a wealthy homosexual man while he is showering. With the stolen funds, Anta and Mory purchase tickets for a ship to France. However, their victim alerts the police, who begin to pursue the duo.
As Anta and Mory board the ship at the Port of Dakar, a loudspeaker announcement summons Mory to meet the captain. Upon hearing this, Mory panics, abandons Anta, and flees in search of his bull-horned motorcycle, only to discover that it has been destroyed in a crash that nearly killed the rider who had taken it.
The ship departs with Anta, leaving Mory behind. He sits on the ground next to his hat, staring despondently at the wreckage of his motorcycle.
Based on his own story and script, Djibril Diop Mambéty made Touki Bouki with a budget of $30,000 – obtained in part from the Senegalese government. Though influenced by French New Wave, Touki Bouki displays a style all its own. Its camerawork and soundtrack have a frenetic rhythm uncharacteristic of most African films – known for their often deliberately slow-paced, linearly evolving narratives. However, it has been asserted that the jump cuts and radical spatial shifts of the film are inspired by African oral traditions. The word "Bouki" in the title refers to a popular folk character, known for causing mischief and cheating his way to what he wants. Through jump cuts, colliding montage, dissonant sonic accompaniment, and the juxtaposition of premodern, pastoral and modern sounds and visual elements, Touki Bouki conveys and grapples with the hybridization of Senegal.
West African cinema contemporaneous with Touki Bouki was primarily financed and distributed by the French Ministry of Cooperation's Bureau du Cinema, which ensured that scripts had to conform to cinematographic standards acceptable to the French Government. Touki Bouki, in contrast, was made without any French financial assistance, allowing Mambéty relatively significant autonomy in production of the film. Mambéty's ready adoption of French New Wave techniques was to a degree motivated by meagre financial resources, circumstances similar to those of the film-makers of the early French New Wave. Narrative and cinematographic techniques associated with the Western genre (known for dehumanizing depictions of Native Americans and minorities) were also subversively utilized by Mambéty in the production of the film.
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Touki Bouki
Touki Bouki (pronounced [t̺ukˑi bukˑi], Wolof for The Journey of the Hyena) is a 1973 Senegalese drama film written and directed by Djibril Diop Mambéty. It was screened at the 1973 Cannes Film Festival and the 8th Moscow International Film Festival.
In 2008, Touki Bouki was restored by the World Cinema Foundation at the Cineteca di Bologna / L'Immagine Ritrovata Laboratory. In 2022, it was ranked as the 66th greatest film of all time in the Sight and Sound Critic's Poll.
Mory, a cowherd who rides a motorcycle adorned with a bull-horned skull, meets Anta, a student, in Dakar. Disillusioned and weary of life in Senegal, they dream of escaping to Paris and devise various schemes to raise money for their journey.
Mory eventually succeeds in stealing money and a large amount of clothing from the home of a wealthy homosexual man while he is showering. With the stolen funds, Anta and Mory purchase tickets for a ship to France. However, their victim alerts the police, who begin to pursue the duo.
As Anta and Mory board the ship at the Port of Dakar, a loudspeaker announcement summons Mory to meet the captain. Upon hearing this, Mory panics, abandons Anta, and flees in search of his bull-horned motorcycle, only to discover that it has been destroyed in a crash that nearly killed the rider who had taken it.
The ship departs with Anta, leaving Mory behind. He sits on the ground next to his hat, staring despondently at the wreckage of his motorcycle.
Based on his own story and script, Djibril Diop Mambéty made Touki Bouki with a budget of $30,000 – obtained in part from the Senegalese government. Though influenced by French New Wave, Touki Bouki displays a style all its own. Its camerawork and soundtrack have a frenetic rhythm uncharacteristic of most African films – known for their often deliberately slow-paced, linearly evolving narratives. However, it has been asserted that the jump cuts and radical spatial shifts of the film are inspired by African oral traditions. The word "Bouki" in the title refers to a popular folk character, known for causing mischief and cheating his way to what he wants. Through jump cuts, colliding montage, dissonant sonic accompaniment, and the juxtaposition of premodern, pastoral and modern sounds and visual elements, Touki Bouki conveys and grapples with the hybridization of Senegal.
West African cinema contemporaneous with Touki Bouki was primarily financed and distributed by the French Ministry of Cooperation's Bureau du Cinema, which ensured that scripts had to conform to cinematographic standards acceptable to the French Government. Touki Bouki, in contrast, was made without any French financial assistance, allowing Mambéty relatively significant autonomy in production of the film. Mambéty's ready adoption of French New Wave techniques was to a degree motivated by meagre financial resources, circumstances similar to those of the film-makers of the early French New Wave. Narrative and cinematographic techniques associated with the Western genre (known for dehumanizing depictions of Native Americans and minorities) were also subversively utilized by Mambéty in the production of the film.