| Photos (see all 1 | slideshow) |
| Blandine Yaméogo | ... | Napoko | |
| Claire Ilboudo | ... | Pougbila | |
| Célestin Zongo | ... | Diahrra | |
| Abdoulaye Komboudri | ... | Nonceur | |
| Daniel Kabore | ... | Bancé, l'ancien | |
| Jules Taonssa | ... | Raogo, le devin | |
| Thomas Ngourma | ... | Elie, le fou |
Directed by | |||
| S. Pierre Yameogo | |||
Writing credits(in alphabetical order) | ||
| S. Pierre Yameogo | writer | |
Produced by | |||
| Pierre-Alain Meier | .... | associate producer | |
| S. Pierre Yameogo | .... | producer | |
Original Music by | |||
| Wasis Diop | |||
Cinematography by | |||
| Jürg Hassler | |||
Film Editing by | |||
| Jean-Christophe Ané | |||
Art Direction by | |||
| Joseph Kpobly | (as Chef Joseph Kpobly) | ||
Makeup Department | |||
| Mariam Sidibé | .... | key makeup artist (as Myriam Sidibe) | |
Production Management | |||
| Serge Bayala | .... | production manager | |
| François Taonsa | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Pascal Guimde | .... | assistant director | |
| Tom Ouedraogo | .... | assistant director | |
| Hamidou Sawadogo | .... | assistant director | |
Camera and Electrical Department | |||
| Marc de Backer | .... | camera operator | |
| Jean-Christophe Dupuy | .... | still photographer | |
| Jean-Marc Dupuy | .... | still photographer | |
| Paul Kabre | .... | electrician | |
| Thierry Kafendo | .... | grip | |
| Assane Maïga | .... | electrician (as Hassan Maïga) | |
Editorial Department | |||
| Ian Mathys | .... | color timer | |
Other crew | |||
| Caroline Helburg | .... | administrator | |
| Pierre Rouamba | .... | art advisor | |
| Nadège Rousseau | .... | production assistant | |
| Carine Sawadogo | .... | script supervisor (as Karine Sawadogo) | |
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| Wendemi, l'enfant du bon Dieu | Samba Traoré | Silmandé - Tourbillon | La nuit de la vérité | Adanggaman |
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| Full cast and crew | Company credits | External reviews |
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This is another fine film from Burkina Faso that deals with the conflict between tradition and modernity and while not deprecating either, shows the need for social change from within society without following Western models of change. Much of the film, according to the director, is actually real footage and the characters are very real. That adds something to it. Especially the visit to the witches' asylum, all of that was real, and heartbreaking. The village scenes and the conflicts early in the movie show that traditional cultures have their positive aspects as well as their negative, and prevent romantic notions of tradition, while the scenes depicting urban disaffection in Ouagadougou show the continuing relevance of the traditional in providing safety and belonging in society.