Even though he is only 15 years old, when his father is injured in a road accident Abel takes up the responsibility of manning the family ‘boda boda’ to provide for the family. Abel however, is always on the lookout for a shortcut and when a local hustler offers him the chance of being a snatch and grab get-away driver, he lurches headlong into a world of easy money and quick thrills.

The Boda Boda Thieves.1080p.WEB-Spartak2005.mkv

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Container:	Matroska
Runtime:	1h 21mn
Size:	3.46 GiB
DXVA:	Compatible
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https://nitro.download/view/FABE2108848E0B0/The_Boda_Boda_Thieves.1080p.WEB-Spartak2005.mkv

Language(s):More
Subtitles:English

The post Donald Mugisha and James Tayler – Abaabi ba boda boda AKA The Boda Boda Thieves (2015) first appeared on Cinema of the World.

“Zan Boko says everything that needs to be said about an endangered way of life.”
New York Times

“The critical camera becomes an instrument of resistance in the face of the technocrats. Zan Boko tells the story of modern Africa.”
Cahier du Cinema

In the Mossi culture, one of the rites attending the birth of a child and its induction as a new member of the community involves the burial of the placenta. The space in which the placenta is buried is called ‘Zan Boko’ – a phrase which connotes the religious, cultural and affective relations that bind the child to the land and that embraces the notions of ‘rootedness’ and ‘belonging’.

“Zan Boko is an important contribution to one of the central themes of Contemporary African cinema: the conflict between tradition and change. It marks an important synthesis of the ‘Africanist’ and ‘social realist’ trends in African filmmaking.

“Zan Boko means ‘the place where the placenta is buried’ and symbolizes the continuity between past and present in African village societies. The film tells the story of a village swallowed up by one of Africa’s sprawling cities. Through this commonplace event, the film reveals the transformation of an agrarian, subsistence society into an industrialized, commodity economy and of an oral culture into a mass media culture.

“Zan Boko is also the story of two men, from two words but sharing a common integrity. Tinga is a peasant farmer whose ancestral land is confiscated by a wealthy businessman. Yabre is a journalist whose uncompromising television expose of Tinga’s victimization is censored by a corrupt government.

“Zan Boko was the first African film to take a candid look at the role of television in contemporary Africa. In it we witness a revolution in communications In ‘pre-industrial’ meaning is inherited through the oral tradition, through the repetition of the ‘wisdom of the ancestors.’ In industrialized societies it is manufactured by the mass media, by forces controlling society’s agenda. The film gives us a unique opportunity to see our own televised civilization through the eyes of the traditional culture it is displacing.”

Zan Boko.avi

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https://nitro.download/view/D8A42611EC42CD4/Zan_Boko.avi

Language(s):More
Subtitles:English (Hardcoded)

The post Gaston Kaboré – Zan Boko AKA Homeland (1988) first appeared on Cinema of the World.

Quote:
Samba Traoré had left his village years ago to seek his fortune in the big city. He has found only unemployment and rootlessness. As the film begins, he is part of a filling station holdup in which his partner is killed but Samba Traoré, determined, takes the money at gunpoint.

He returns to his village, hides the money, and lets out that he has been successful and now wants to live at home. He resumes old friendships. He marries. His impulses run away with him as opportunities arise to spend more and more of the money. At first people just think he did well in the city. Then they think he did amazingly well. Then they think that they never dreamed anyone could make so much money. Finally his trail becomes so obvious that the police hear of him.

Like many of the film makers that Joan and I really admire, Idrissa Ouédraogo is a humanist. He is not primarily concerned with plot, but with people. The plot of Samba Traoré is rudimentary. It’s only there because at each turn of the plot the context in which his characters live changes and so they act and express new sides of themselves. We come to see them with great subtlety. Samba Traoré himself, for example, is sometimes generous in sharing with his friends, but he overreacts with possessiveness when his girlfriend is visited by an old boyfriend. At other times he might be anywhere in between these extremes. One doesn’t find these differences contradictory; one is moved and amazed at how richly complex people are.

Ouédraogo draws these portraits sharply. When Samba Traoré attacks the boyfriend or the service station operator, there is no motive of personal malice or vindictiveness or greed or brutality; his motive is simply that his own needs come first and he is accordingly direct and practical but relentless.

Ouédraogo is constantly aware of the physical landscape in which his characters live. He photographs the details of the people, of the countryside, and of the village with loving respect. He seems to be saying, “Look at these ordinary things. These people are living in paradise.”

Samba Traoré is a fine film, entertaining and touching, within the great humanist tradition. but with a distinctively African way of thought and expression.

William P. Coleman.

Samba.Traore.1993.1080p.WEB-DL.AAC2.0.H.264-Gloft.mkv

General
Container:  	Matroska
Runtime: 	1 h 26 min
Size: 	3.65 GiB
Video
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Aspect ratio:  	16:9
Frame rate: 	24.000 fps
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https://nitro.download/view/78A253F61093F98/Samba.Traore.1993.1080p.WEB-DL.AAC2.0.H.264-Gloft.mkv

Language(s):More, Dyula, French
Subtitles:English

The post Idrissa Ouedraogo – Samba Traoré (1992) first appeared on Cinema of the World.

Quote:
A simple story about the status of old people in African society told with amazing grace”. A small african village. Bila, a ten year old boy who befriends an old woman, Sana. Everybody calls her ‘Witch’ but Bila himself calls her ‘Yaaba’ (grandmother). When Bilas cousin Nopoko gets sick it is Sana’s medicin who rescues her.

Shot in the director’s homeland of Burkina Faso, the film is both lush and minimalist, sensual and barren. Gangly trees dominate the horizon, towering with equal indifference over the scrub vegetation and the thatched mud huts and the villagers. In Ouedraogo’s hands, nature becomes an arena for myth, a sun-hammered stage for the spinning of tales.

1.32GB | 1h 25mn | 964×576 | mkv

https://nitro.download/view/495286881BF96EB/Idrissa_Ouedraogo_-_(1989)_Grandmother.mkv

Language:More
Subtitles:English, Spanish, French, Russian

The post Idrissa Ouedraogo – Yaaba AKA Grandmother (1989) first appeared on Cinema of the World.