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It is the dawn of Senegal's independence from France, but as the citizens celebrate in the streets we soon become aware that only the faces have changed. White money still controls the ... See full summary »

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Cast

Cast overview, first billed only:
Thierno Leye ...
Myriam Niang ...
Rama, El Hadji's daughter (as Miriam Niang)
Seune Samb ...
Adja Assatu, El Hadji's first wife
Fatim Diagne ...
El Hadji's secretary
Younouss Seye ...
Oumi, El Hadji's second Wife
Mustapha Ture ...
The Client (as Moustapha Touré)
Iliamane Sagna ...
Modu, El Hadji's chauffeur
Dieynaba Niang ...
La Badiene
Langouste Drobe
Farba Sarr ...
Businessman
Abdoulaye Boye
Papa Diop
Martin Sow
Mamadou Sarr ...
Businessman
Makhouredia Gueye ...
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Storyline

It is the dawn of Senegal's independence from France, but as the citizens celebrate in the streets we soon become aware that only the faces have changed. White money still controls the government. One official, Aboucader Beye, known by the title "El Hadji," takes advantage of some of that money to marry his third wife, to the sorrow and chagrin of his first two wives and the resentment of his nationalist daughter. But he discovers on his wedding night that he has been struck with a "xala," a curse of impotence. El Hadji goes to comic lengths to find the cause and remove the xala, resulting in a scathing satirical ending. Written by Anonymous

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Genres:

Comedy

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Release Date:

29 December 1977 (Hungary)  »

Also Known As:

Impotence  »

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(Eastmancolor)
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Did You Know?

Trivia

Xala translates as "The Curse". See more »

Quotes

Minister Kebe: The potion must have been excellent! You haven't changed cloths yet.
Hadji Aboucader Beye: I couldn't get it up... nothing happened!
Minister Kebe: What?
Hadji Aboucader Beye: I couldn't get an erection. My mother-in-law says I have the Xala.
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Connections

Featured in Caméra d'Afrique (1983) See more »

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User Reviews

 
Neocolonialism in Xala
31 May 2011 | by See all my reviews

The beginning scene of Ousmane Sembene's film Xala is a tragicomic metaphor for the euphoria of the African independence movement, which was followed quickly by the installation of puppet governments controlled by ex-colonial powers. Sembene's courageous and open indictment of profiteering African businessmen and politicians is the backdrop for a moral tale of greed, betrayal, and punishment. I found the storyline gripping, never boring, and I even felt compassion for the victim of the xala despite his obvious shortcomings and former cockiness. While the cautionary tale is didactic in the style of fables and traditional African tales, the viewer apprehends the complexities of life in a climate of pervasive corruption. The characters make their way through a melting pot of African traditions, magic realism, animism, and Islam - all peppered with powerful vestiges from Africa's colonial heritage. Each character tries to survive and thrive in his or her own unique way. Xala provides the viewer with a multitude of perspectives, simultaneously condemning those who sell Africa to her highest bidders, while promoting forgiveness and redemption.


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