Faat kine ousmane sembene interview en

From Film Comment January-February Yet considering how difficult it generally is to track his remarkable and varied work on film or video that comes ridiculously close to qualifying me as an expert.

Faat kine ousmane sembene interview en: Ousmane Sembène: Interviews collects conversations from

The fact that it typically takes a couple of years for a new Sembene film to reach these shores is commonly perceived as an African as opposed to American form of inertia, but I would think the responsibility for this state of affairs might be shared. There are a few obvious signs of stylistic continuity, such as a no-nonsense way of leaping into flashbacks whenever he has to account for certain character traits or backstories, epitomizting what the great literary critic Erich Auerbach called Homeric style.

Otherwise Sembene refuses to build on earlier pictures the way that directors like Ford, Ozu, Godard, or Kiarostami do. When I need a man, pay your husband for his services. Mutantis mutandis , Howard Hawks in his own African picture, Hatari , uses narrative in roughly the same fashion — as a way of enjoying his characters and spending some time with them.

Among the many topics coursing through this rich comedy of manners — as busy with locals and subplots as a Jacques Demy musical — are the everyday operations of a gas station, the differences between being Islamic and being Catholic including the distinction between polygamy and monogamy , and the seeming incongruities of traditional African life persisting in a modern capital like Dakar.

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