A minor work from the emerging master of African cinema, Mahamat Saleh-Haroun, this is elevated by a heightened female perspective and some rousing dance scenes
Mahamat Saleh-Haroun now revisits that theme of father-son bonding which was such an important part of his earlier movies Our Father (2002), Dry Season (2006) and A Screaming Man (2010). But now he progresses away from this template — in the same meandering way that characterises his storytelling — to a closer identification with women. It is a typically calm, lucid drama, presented in the director's unforced, cinematic vernacular and attractively and sympathetically acted. There is also some great music from the Senegalese composer Wasis Diop, brother of the director Djibril Diop Mambety. However, I couldn't help feeling that this was a slight and contrived piece, compared to his earlier work.
Saleh-Haroun's lead is non-professional Souleymane Deme, who plays Grigris, a brilliant dancer despite a leg disability. He earns spare...
Mahamat Saleh-Haroun now revisits that theme of father-son bonding which was such an important part of his earlier movies Our Father (2002), Dry Season (2006) and A Screaming Man (2010). But now he progresses away from this template — in the same meandering way that characterises his storytelling — to a closer identification with women. It is a typically calm, lucid drama, presented in the director's unforced, cinematic vernacular and attractively and sympathetically acted. There is also some great music from the Senegalese composer Wasis Diop, brother of the director Djibril Diop Mambety. However, I couldn't help feeling that this was a slight and contrived piece, compared to his earlier work.
Saleh-Haroun's lead is non-professional Souleymane Deme, who plays Grigris, a brilliant dancer despite a leg disability. He earns spare...
- 5/22/2013
- by Peter Bradshaw
- The Guardian - Film News
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