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


Overview

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6.7/10   990 votes »
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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 »
User Reviews:
Fabricated Form, True Content 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) (DVD 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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4 out of 4 people found the following review useful.
Fabricated Form, True Content, 2 November 2008
Author: gentendo from United States

Bamako is a deeply personal docudrama that illuminates the destitute conditions of African people living in Mali. The story revolves around a village mock trial where African citizens are privileged to voice their political frustrations against a jury of bipartisan judges. Many of these frustrations deal with major social epidemics that Mali suffocates from, including: healthcare, education, poverty, national debt, privatization and disease. In this sense, the story is simple in its structure, yet the issues discussed by the citizens are vastly complex.

It was rewarding to hear the testimonies of the citizens transcend the illiterate stereotype of Africans. Though the majority of them use powerful rhetoric to emphasize and provide solutions to the problems their country faces, there were two testimonies in particular that really stood out as powerful demonstrations of their impoverishment. The man who is silent and the man who sings; both convey a unique message that represents the same underlying theme—social plagues.

The man who gives a silent testimony is a type of the many who suffer with neglected education. His weary eyes, depressed lips and resonating silence speak louder than any eloquent words could do; as if his body language cries, "I am the consequence of social malnourishment. Please give me the opportunity to be nourished like others." The man who sings in an unknown tongue provides commentary on a sort of meta-political-level. Let me explain what I mean by this.

The entire film is very verbose; it is not aesthetically pleasing for the eye as it is more so just a lot of spoken words for the ear. It requires a lot of mental exertion and contemporary socio-economic knowledge to really understand what these people are talking about. With all of this heavy, didactic conversation and exchange of intonated words, the issues talked about would seem completely arbitrary to someone who was not educated. In fact, the conversation would seem alien—like a jumbling mess of chaotic noises and sounds. The man who sings his testimony also appears alien to those who listen. He is merely personifying the chaos of political jargon he hears through an artistic expression of music. He, too, is plagued by a lack of education; his song enters his listener's hearts on a level that is both metaphysical and political.

Overall, the citizens of Mali hide no pretense from where their problems arise, but link much of their pauperization to corporate corruption in the West. Western ideals and social reforms that are inevitably forced upon their economy make Malians rightfully jaded towards the World Bank, WTO, G8 and other Western influences. The richer countries around the world feed like parasites upon the African economy, pushing them deep into debt, refusing to give financial aid until they conform to the Western ideal of privatization, and ultimately drowning them in a sea of tyranny.

I think the filmmakers choose to shoot this film like a documentary because it adds an objective lens to the reality of what these people actually suffer from. These issues are not fabricated to glamorize some type of Hollywood agenda, but are real-life situations involving real-life people, and they deserve the respect to be listened to in a real court of law. Sadly, however, they are not privileged with such a luxury. With filmmakers who care about their situation, they are able to fabricate the form of a courthouse, yet the content that is exchanged inside is painfully true.

The film intercuts several narrative sketches throughout the mock trial, giving examples of the types of lives the Malians live. One story focuses on the tension created between a father's temptation to leave his wife and child in order to pursue financial stability elsewhere, while another focuses on the overall idle state of the citizens who hopelessly sit around listening to politics through a speaker. The sense of despair in both stories comes in direct consequence of Africa's relationship to the corrupting West. The reason why Africa hurts as much as she does is because of the neglect and maltreatment that larger, dominating countries have subjected her to.

One particular scene that demonstrates Africa's ill-feelings towards the West is shown through the film, Death at Timbuktu. The film shows cowboys come into a foreign town and essentially rape, murder and pillage the people of their goods. Why?—because they have the power to do so. This film seemed to suggest the brutality of Western Capitalism. How large, domineering and privatized corporations come into small, submissive and frail countries like Africa and essentially do exactly what the cowboys in the film did—exploit and corrupt.

Both films—Bamako and the film inside Bamako, Death at Timbuktu—seem to have a slight sense of propaganda behind them in order to awaken the injustices done to Africans, and call for equal treatment, opportunity and overall justice.

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