Guinea-Bissau, 1969. A violent war between the Portuguese colonial army and the guerrillas of the African Party for the Independence of Guinea. Nome leaves his village and joins the maquis. After years, he will return as a hero, but joy will soon give way to bitterness and cynicism.
France
ACID Cannes
France
PortugalM/12
France
Portugal
сразу после сцены, где один из героев проводил обряд в лесу, под здоровым мужиком, закрывавшим мне пол-экрана, провалился стул, так что я не буду ставить оценку ниже 3 даже несмотря на снятые в стиле сериалов с Россия-1 последние полчаса
Наивная этника и поэтический реализм в джунглях в первой половине фильма — да.
Морализаторские диалоги и семейные коллизии из индийского кино во второй половине — нет.
Наверное, надо добавить, что первая часть фильма посвящена войне, а вторая — миру, но никакой вывод из этого делать не хочется.
Фильм снимал человек, работавший с Крисом Маркером, поэтому и тут самым интересным оказались удачно вплетённые в сюжет архивные кадры.
Забавно, что я поменял место, чтобы быть подальше от общительной женщины, но она все равно пересела на ряд впереди. Однако намного опасней оказался ее сосед по ряду, толстяк, под которым сломалось сиденье.
de très belles images mais c'est trop foutraque à la fin
La photographie est juste splendide ?? Un conte politique sublime, qui mêle fiction et réalité, porté par des acteur.ice.s époustouflants.
Trop fan de la mise en scène, malheureusement le film manque cruellement de souffle !! L’onirisme et la poésie ne suffisent pas à combler (je me prends pour qui) le manque d’écriture des persos… Sans parler des 30 dernières minutes dans la ville et de LA DERNIÈRE SCÈNE ??
March Around the World 2024 - Guinea-Bissau
A significant number of people in Portugal believe that Portuguese Colonialism in Africa was somehow better than from other European countries, that the local populations were happy to have the Portuguese "helped" them become "civilized". Of course this is all bullshit and Portuguese Colonialism was brutal and in particular in Guinea-Bissau the war was fierce and left thousands of orphans and a country completely destroyed. Guinea-Bissau is today a failed country, one of 10 poorest countries in the world and a gateway for drugs between America and Europe, drowned in corruption.
This movie is beautifully filmed. It has it flaws, mostly trying to tackle too many things at the same time and being too lyrical, but it is still a good example of contemporary African cinema that tackles important issues on an artistic way
FLEFF log:
Amazing cinematography. As the film progressed I noticed how it focused on different narrative perspectives of revolution; the village, women, machismo guerrillas. The scope of the film is remarkable, covering village life, the intensity fight itself and lastly the corruption that bastardized the ideology. The metaphorical aspects of the film were especially strong for example the significance of the bolombo relating to both sign of a death in the village as well as an oncoming attack by the Portuguese.
tem uma sensação que o cinema não abrange: o tato. é impossível tocar um filme.
acho engraçado como esse filme me remeteu isso de ter uma textura, como o solo da terra, o tronco de uma árvore, as escamas de um peixe na água, o sangue de um corpo morto.
outra coisa engraçada, isso é português. é português e eu não entendia porra nenhum que eles falavam, muito show.
le mec a utilisé ses propres images d'archives... mais what
(rencontre avec le réal, le producteur et la monteuse à la fin <3)
Trois étoiles pour les images d'archive, le reste bof
Not sure how much this totally holds together but the scope is impressive if nothing else. The navigation between the fictional narrative which seeks to recreate actual situations and the use of documentary footage shot during the actual period the film's narrative takes place in is rather incredible - not just in the juxtapositions between reality and recreation but also between the degrading film footage and the ultra precise digital photography most of the film is shot in. And for how digital the images are it is astoundingly beautiful (easily one of the best looking films I've seen to come out in 2023). Full of rich colors and lots of background detail. But I also shouldn't fail to mention just…
Je suis condamné à la douleur de ne jamais souffrir.
What a gem. Veteran Sana Na N'Hada goes back to the revolutionary war against the Portuguese colonialists in Guinea-Bissau, and creates an enchanted fiction, both lyrical and merciless. It’s an ancestral tale, reminiscent of the magic of Cissé’s Yeelen, and at the same time an accurate historical account, full of criticism towards post-revolutionary politics, in which it reminds us of 1970s Sembène’s political chronicles, such as Emitaï and Xala. A spiritual figure acts like a Brechtian narrator, a tender light spreads along the film, the editing moves by sudden interruptions and abrupt tone changes. But the most impressive thing is how N’Hada integrates the archival footage, produced by him, Flora Gomes and their fellow Guinean filmmakers during the war of independence. The remaining fragments of the time contaminate the fiction, disturb the rhythm, create visual rhymes between documentary and fiction and a subtle, beautiful way.
