IMDb > Bamako (2006)
Bamako
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Bamako (2006) More at IMDbPro »


Overview

User Rating:
6.7/10   900 votes »
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Contact:
View company contact information for Bamako on IMDbPro.
Release Date:
18 October 2006 (France) See more »
Genre:
Plot:
Bamako. Melé is a bar singer, her husband Chaka is out of work and the couple is on the verge of breaking up... See more » | Add synopsis »
Plot Keywords:
Awards:
3 wins & 1 nomination See more »
NewsDesk:
(20 articles)
‘Fury’, ‘Foxcatcher’, ‘Mr. Turner’ headline BFI 58th London Film Festival 2014
 (From SoundOnSight. 3 September 2014, 9:47 AM, PDT)

Review: Mood Indigo
 (From Slackerwood. 16 August 2014, 9:30 AM, PDT)

Le Pacte seals Timbuktu deals
 (From ScreenDaily. 19 May 2014, 10:00 PM, PDT)

User Reviews:
Intriguing and humbling without ever coming across as melodramatic. See more (20 total) »

Cast

  (in credits order)

Aïssa Maïga ... Melé
Tiécoura Traoré ... Chaka
Maimouna Hélène Diarra ... Saramba (as Hélène Diarra)
Balla Habib Dembélé ... Falaï (as Habib Dembélé)
Djénéba Koné ... La soeur de Chaka
Hamadoun Kassogué ... Le journaliste
William Bourdon ... Avocat partie civile
Mamadou Kanouté ... Avocat de la défense (as Mamadou Konaté)
Gabriel Magma Konate ... Le procureur (as Magma Gabriel Konaté)
Aminata Traoré ... Témoin 2

Danny Glover ... Cow-boy

Elia Suleiman ... Cow-boy

Abderrahmane Sissako ... Cow-boy (as Dramane Sissako)
Jean-Henri Roger ... Cow-boy
Zeka Laplaine ... Cow-boy
rest of cast listed alphabetically:
Assa Badiallo Souko ... Witness 5
Zegué Bamba ... Witness 1
Dramane Bassaro ... Cowboy
Ferdinand Batsimba ... Cowboy
Boissou Berthé
Jean Paul Boiré ... Le gardien
Lamine Camara
Youssouf Camara ... L'huissier audiencier
Hassan Chérif
Mariam Cissé ... Un juge assesseur
Abdoulaye Coulibaly ... Le vendeur de lunettes
Nana Coulibaly
Souleymane Diagouraga ... Le malade
Oumou Berthé Diakité ... Un juge assesseur
Samba Diakité ... Witness 6
Alou Diarra ... Un juge assesseur
Diakaida Doumbia
Issa Doumbia
Pasteur Ezéquiel ... Le pasteur
Dahirou Iogo ... L'infirmier
Bina Keita
Georges Keita ... Witness 4
Madou Keita ... Witness 3
Mamou Kimbiry
Sali Konaté
Basékou Koné
Mamadou Loussine Koné ... L'enquêteur
Abdoulaye Kouyaté
Rokia Kouyaté ... La griotte
Hamèye Mahalmadane ... President of the tribunal
Andrew Mensah ... Le traducteur
Roland Rappaport ... Avocat de la defense
Aissata Tall Sall ... Avocate partie civile
Sahl Samaké ... Le policier
Mamadou Savadogo ... Avocat de la defense
Abdallah Sissoko
Fatoumata Sissoko
Jiddou Sissoko
Mohamed Sissoko ... Un enfant
N'Deye Sissoko ... La speakerine
Ramala Sissoko
Issa Socko
Hassane Soré
Oussène Soré
Bobo Tandina
Fodé Tounkara
Souleymane Tounkara ... Un enfant
Hawa Mamoudou Touré
Amindada Dramane Traoré
Hawa Traoré
Sanala Traoré ... Un enfant

Directed by
Abderrahmane Sissako 
 
Writing credits
(in alphabetical order)
Abderrahmane Sissako 

Produced by
Maji-da Abdi .... executive producer
Joslyn Barnes .... executive producer
Denis Freyd .... producer
Danny Glover .... executive producer
Arnaud Louvet .... executive producer: Arte
François Sauvagnargues .... executive producer: Arte
Abderrahmane Sissako .... producer
 
Cinematography by
Jacques Besse 
 
Film Editing by
Nadia Ben Rachid 
Pauline Casalis 
 
Production Design by
Mahamadou Kouyaté 
 
Costume Design by
Maji-da Abdi 
 
Makeup Department
Batoma Kouyaté .... key makeup artist
 
Production Management
Thomas Alfandari .... production manager
Ndiouga Moctar Ba .... production manager: Mali (as Moctar Bâ)
Dramane Traoré .... unit production manager
 
Second Unit Director or Assistant Director
Philippe Tourret .... first assistant director
 
Sound Department
Christophe Bourreau .... foley artist
Lin Chang .... adr recordist
Geraldine Falieu .... assistant dialogue editor
Dana Farzanehpour .... sound
Charles Ferré .... boom operator
Bruno Tarrière .... sound mixer
Christophe Winding .... sound editor
 
Visual Effects by
Stephanie Boutinaud .... visual effects coordinator
 
Camera and Electrical Department
Marco Beaurepaire .... gaffer
Emmanuel Daou .... still photographer
Makhete Diallo .... camera operator
Thomas Nikiema .... camera operator (as Thomas Nikéma)
Lydie Rappaport .... still photographer
Abdourahmane Somé .... camera operator
Gilles Viallard .... still photographer
 
Editorial Department
Nicolas Criqui .... digital conformation
Frederic Jupin .... editor: Colurus
Carlos Pinto .... assistant editor
Philippe Reinaudo .... digital intermediate technical director
Raymond Terrentin .... colorist
Philippe Tourret .... post-production coordinator
Clement Zveguintzoff .... digital conformation
 
Other crew
Sophie Audier .... script supervisor
Pierre Escande .... production assistant
Romeo Julien .... avid conformation
 

Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
115 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Netherlands:9 (DVD rating) | Netherlands:AL (original rating) | Switzerland:7 (canton of Geneva) | Switzerland:7 (canton of Vaud) | UK:PG
Filming Locations:

Did You Know?

Goofs:
Crew or equipment visible: During the inset "Death in Timbuktu" "western," just before the first gunshot, a car can be seen moving between two buildings in the background. This, however, could be interpreted as intentional by the director, who was parodying non-Western interpretations of a "western" (other countries who partake in a love of westerns are Thailand and Cambodia). The child in this scene is also wearing a Nike shirt. The effect is to present the sort of low-budget, pulp film one might see in a television broadcast in Mali, while supplying a metaphor to the actual movie's plot.See more »

FAQ

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6 out of 7 people found the following review useful.
Intriguing and humbling without ever coming across as melodramatic., 20 January 2009
Author: johnnyboyz from Hampshire, England

Mauritanian director and writer Abderrahmane Sissako's Bamako will not be for everyone and by everyone I mean the majority of both mainstream American as well as European film-goers. The film is of the kind that borders on documentary in its approach and general feel; people talk for long periods about topics that a lot of us will have perhaps read about here and there in whatever news coverage it's been given in a respective country but few, unless you're an avid follower of African politics and the financial state in Africa, will have had as much exposure to the subject as you get in this film. In general, there are long and detailed monologues on the subject of Africa's, as a continent, financial and general situation. It is a piece of work that teeters between documentation and a sheer, out and out neo-realist piece set amidst the locals going about their business.

The title: 'Bamako', is loud and proclaimed. The word is a proper noun – it is the capital city of Mali, an African country, and that is the tone for the film focusing on a courtroom based discussion regarding the International Monetary Fund and the World Bank, a corporation set up to help fund developing or underfunded nations. The topic is straight forward: the reason the state of many African nations are in the state they are. You can imagine it being a very personal subject to many-an African director but Sissako handles it very well and it resonates; the film is not about one nation, despite having the capital of a certain nation as its title, but rather the state of a continent as a whole and the director doesn't focus on individual nations but gives everybody a voice.

The courtroom of the title it has been released as here and there is really nothing more than a patch of sandy land in the middle of an urban area. The officials are all dressed smartly and each of them are both French and Caucasian. It's here I think Sissako places the audience into the bodies of these officials, those that are of a 'Western' origin more than anything and those that must stand and listen to the African villagers state their cases to do with living conditions as well as both quality and amount of facilities they have available to them. It's here we feel as naive as the court officials, perhaps as humbled as they are when people give their statements and accounts – some are loud and angry with a woman peeling off all these facts and figures for our benefit whereas others are quieter and more humbling but one such individual cannot say anything at all and this may be the most upsetting for most viewers.

Perhaps there is a certain irony behind the most effective 'statement' being one delivered by someone who doesn't say anything at all, given how the film likes its extended dialogue sequences. But I think that's down to good direction and good writing if anything: the timing of the silence within the piece. Through the statements, we find that the mere area is unhealthy and lacking medicine and places to earn a living, something that should rebound on us when thinking of the bigger picture and how this is one area in Mali we're dealing with, despite the hearing's overall link to the continent.

One cannot talk about the film without mentioning the bizarre manner in which it veers off out of the world it's taken so much time in establishing and into something else. About half way through the film, from memory, we begin watching a film within a film – a daft looking Western starring Danny Glover which I suppose acts as the film's anchor around which the theme revolves. The western film is entitled 'Death in Timbuktu', a scathing reminder that 'death' is indeed happening all the time in Timbuktu, a town in Mali, more down to the malnutrition than trigger happy cowboys. It sees American and French actors/characters struggling to deal with their surroundings which is a wired hybrid of the Old West and a typical African village with sandy terrain, huts and everything else. The pit-stop could be seen as a metaphor for Americans, the French and Western economic powers in general struggling to deal with a 'problem' in Africa as lots of really unnecessary deaths keep happening – again, in real life it's not death by a bullet as much as it is poor quality conditions.

What I like about Bamako more than, for instance, 'Waking Life' is its approach. We're not being talked down to here and we're not following some daft, trippy sequence of events that shows off what the latest computers are capable of. Instead, we have a real situation being presented to us and arguments established before events developed. This isn't a lecture or a 'talking down to' of the audience, this is reality made by someone who's been there and is producing a film that doubles as a statement. It won't be a film for everyone but the loose narrative to do with a breakup between two people offers us a fitting conclusion, an individual reduced to tears as the emotion floods to the surface as they realise not only their life but the verdict surrounding the hearing is in a purgatory and the only outcomes are two extremes either way.

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