Quote:
Burkina Faso, West Africa. Poverty and misery breaks out with a vengeance in Gourga, a village within the borders of the Sahel. For the people of the country, a choice has to be made: either await international assistance or travel further inland to the richer preas of the country. Salam, a peasant, and his family opt for the second solution, with all the sacrifices that this entails. A new life can now begin for them. They discover love, joy, hate, violence, feelings which hunger and thirst had made them forget.

A family struggles to survive the harsh drought and deadly famine in this engaging drama. A farming family consisting of an aging mother and father travel South with their young son Ali, their marriageable daughter Bintou, and her sweetheart Salam. When they stop in the city to sell their donkey, young Ali is struck by a car and killed. The group continues and eventually meets up with friends who take in the beleaguered travelers. Bintou and Salam anticipate the birth of their baby when the family reaches the lush greenery of the South.

	
Yam.Daabo.1987.576p.BluRay.DD1.0.x264-0BSiDiAN.mkv

General
Container:  	Matroska
Runtime: 	1 h 19 min
Size: 	2.97 GiB
Video
Codec: 	x264
Resolution: 	790x576 
Aspect ratio:  	1.372
Frame rate: 	23.976 fps
Bit rate: 	5 108 kb/s
BPP: 	0.468
Audio
#1:  	mos 1.0ch AC-3 @ 224 kb/s (Criterion Collection USA Blu-ray (2026))

https://nitro.download/view/F675ACEDE5D48B8/Yam.Daabo.1987.576p.BluRay.DD1.0.x264-0BSiDiAN.mkv

Language(s):Moré, French
Subtitles:English

The post Idrissa Ouedraogo – Yam Daabo AKA The Choice (1987) first appeared on Cinema of the World.

Quote:
Tilaï opens to a long sequence, off-axis shot of a lone traveler moving away from view as he slowly traverses the arid, featureless plain on a lumbering, overburdened mule and disappears into the desolate horizon. It is an appropriately distanced and alienated introduction for the weary, but sanguine Saga (Rasmane Ouedraogo) who, after an extended journey away from his native village, has returned to the foreboding sight of anxious villagers assembled at a clearing near the entrance of the intimate community. Greeted by his brother Kougri (Assane Ouedraogo) who heads off Saga at the footpath to the village on behalf of the family, Kougri informs him of an unforeseen (and reprehensible) development during his absence: the marriage of his beloved Nogma (Ina Cissé) to their father Nomenaba (Seydou Ouedraogo), having changed his mind and taken the reluctant young woman – once promised to Saga by the old man himself – as his second wife. Unwilling to accept Nomenaba’s feckless and inconsiderate act, Saga defies his father’s demands to return home and instead, decides to build a hut away from the village on a self-imposed exile from the inconsiderate elder. Deliberately insulated from the tribal repercussions of Saga’s disobedience over the complicated affair, Nogma’s curious and well-intentioned younger sister Kuilga (Roukietou Barry) stumbles upon Saga’s new habitation and subsequently brings the unhappily married Nogma to the location, unwittingly sowing the seeds of temptation for the unrequited couple.

Idrissa Ouedraogo creates a distilled, lucid, and incisive cautionary tale of obdurate pride, self-righteous rationalization, and archaic traditions in Tilaï. By setting the film in pre-colonial Africa, Ouedraogo eschews the implication of external, social and ethno-political factors in order to present a culturally indigenous, yet universal examination of the bifurcation of tribal law (or more broadly, social custom) and moral judgment in the governance of everyday life (note a similar atemporality in the depiction of coercively imposed, ancient customs in Keisuke Kinoshita’s Narayama Bushiko and Shohei Imamura’s subsequent re-adaptation, The Ballad of Narayama). Ouedraogo’s economic, but exquisitely realized compositions capture the pervasive austerity of landscape through predominantly medium and long shots that illustrate a paradoxical coexistence between an openness of environment and an intrusiveness of social setting inherent in village life: low property walls that preserve (if not foster) communality; expansive and desolate topography that aggregates population into localized, autonomous tribes for mutual cooperation; scarcity of population that engenders dubious (if not self-serving) laws by tribal elders to ensure survival and continuity of the community (and implicitly, their own ancestral lineage). In the end, it is this corruptive and implicitly incestuous relationship between entrusted authority and personal vanity that is reflected in Saga and Nogma’s seemingly star-crossed destiny: the breakdown of humanity in the absence of humility, compromise, forgiveness, and acceptance of human frailty.

Idrissa Ouedraogo - (1990) The Law.mkv

General
Container:  	Matroska
Runtime: 	1 h 18 min
Size: 	1.19 GiB
Video
Codec: 	x264
Resolution: 	664x478 ~> 764x478
Aspect ratio:  	16:10
Frame rate: 	25.000 fps
Bit rate: 	1 980 kb/s
BPP: 	0.250
Audio
#1:  	2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/AFB13FA8D46866A/Idrissa_Ouedraogo_-_(1990)_The_Law.mkv

https://rapidgator.net/file/d0e7d5e6a5ec346c15f98cd0cf167274/Idrissa_Ouedraogo_-_(1990)_The_Law.mkv

Language(s):Moré
Subtitles:English, French, Spanish, Arabic, Portuguese

The post Idrissa Ouedraogo – Tilaï AKA The Law (1990) first appeared on Cinema of the World.