“A mysterious woman, claiming to be a nurse who had disappeared during the bombing of Nagasaki, communicates with an atomic plant engineer by means of his TV set…
Synopsis:
A man working in a nuclear center mysteriously receives a television broadcast feed which is intended for him alone. Soon a strange woman appears on the screen. He falls madly in love with her and is decided to reach her wherever she is.Read More »
Quote:
Arguably an outgrowth of Soleil Ô, Les Bicots-nègres analyses the living conditions of African migrant workers in France in the mid-1970s. The film has the potential to be a classic case study of cinematic over-determination. It comprises seven sequences exploring, respectively, the conditions of possibility of cinematic representation in Africa (the opening sequence), historical dissonance through the dialectic of past and present (the post-credit sequence), a flashback to the eve of African independence (the imaginary garden party sequence), the predicaments of the post-colony, an assessment of the living condition of migrant workers and the actions taken to transform these conditions, and a final sequence in a circular mode, which returns to the new cinema.
In Les Bicots-nègres, Med Hondo engages the dual front of cinema and history through the production of what might be referred to as an indocile image. In the cinema of Med Hondo, the indocile image purports to do, undo and sometimes outdo both cinema and history.Read More »