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Sia, the Dream of the Python (2001)

Sia, le rêve du python (original title)
Every year the most beautiful girl will be sacrificed to the Python God. But what really happens is that all the priests rape her, and then murder her, so that she cannot tell that the ... See full summary »



(play), (screenplay) | 1 more credit »

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5 wins & 3 nominations. See more awards »
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Credited cast:
Balla Habib Dembélé ...
Le griot
Hamadoun Kassogué ...
Ibrahim Baba Cissé ...
Kardigué Laïco Traoré ...
Kaya Maghan
Marietou Kouyaté ...
Fily Traoré ...
Kary Coulibaly ...
Le coiffeur
Abdoulaye Komboudri ...
Le froussard
Ahmed Kadio ...
Le prince
Djeneba Diawara ...
La mère de Sia
Toumansé Coulibaly ...
Le père de Sia
Rest of cast listed alphabetically:
Fanny Touré ...
La vendeuse de dolo (as Fantani Touré)


Every year the most beautiful girl will be sacrificed to the Python God. But what really happens is that all the priests rape her, and then murder her, so that she cannot tell that the python god does not exist. When a girl named Sia is the next to be sacrificed, she hides in the house of the village idiot, a man who goes around shouting hyper-aggressive criticisms against everything. Sia is found by the soldiers and the village idiot is murdered. But the army commander had for some time prepared a revolt against the emperor. Now he murders the emperor and all the priests, thereby saving Sia from being raped. His plan is to make Sia's boyfriend the new emperor, an appointment to be justified by the lie that that boy had murdered the python god. At the same time Sia should be empress. However, Sia refuses to lie about what happened. Therefore she is declared a lunatic. In turn she develops exactly the same kind of behaviour as the village idiot had shown. Written by Max Scharnberg, Stockholm, Sweden

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24 May 2002 (USA)  »

Also Known As:

Sia, the Dream of the Python  »

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User Reviews

A play of Shakespearean aspirations cannot fit the screen
13 February 2009 | by (Seattle, WA) – See all my reviews

It is clear that the stage play must have been a searingly powerful experience. There are numerous metaphors proceeding simultaneously, and most of them are pointedly identifying sins of modern politics. It makes me wish I could have been there.

In an attempt to translate this to the screen, the artifice that comes natural to the stage feels awkward. The photography and the staging try to appear at least somewhat realistic. As a result, characters come across as one-dimensional instead of being archetypes. The acting seems wooden at times rather than being larger than life. The violence that would never be realistic on stage cannot make up its mind here.

But in all, it is still a wonderful document. There is a powerful punchline at the very end (last 10 seconds) that is not to be missed, and it pushed this up to a 7 for me.

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