This film presents a viewing experience that is, to put it mildly, disorienting. One is left in a state of perpetual uncertainty regarding the filmmaker’s perspective. Is there an endorsement of the nascent Malian republic, with its socialist leanings? Or does the film sympathize with the commercial entities who view this new political landscape as detrimental to their profitability? It’s a dance where the steps are unclear, much like dancing the twist for the first time – movements are there, but the direction and purpose feel lost in translation.
Perhaps the director intentionally avoids taking sides. Maybe the aim is to offer an unbiased depiction of Mali in the aftermath of French colonial rule in the early 1960s. If so, the ambiguity is a deliberate choice, reflecting the complex realities of a nation finding its footing. However, this neutrality leaves the audience in a similar position to someone trying dancing the twist without any music or partner – a solitary and somewhat perplexing endeavor.
The casting choices further contribute to this sense of unease. The prominent roles are filled by actors with a distinct Parisian background. The lead actor is of French Congolese heritage, while the lead actress hails from Cape Verdean-French roots. While both deliver commendable performances, their casting raises questions. Was the pool of Malian actors truly devoid of suitable candidates for these central parts? It feels akin to asking someone who’s mastered ballet to suddenly lead a class in dancing the twist – technically proficient, but culturally dissonant.
To be fair, numerous Malian actors do populate the film, mitigating the initial strangeness of the lead casting. Yet, the overarching impression of cultural displacement lingers. Technically, aspects of the film are undeniably strong. The cinematography is notably effective, capturing the atmosphere of the era. Similarly, the costume design and the evocation of the period are praiseworthy. These elements are like the rhythm section in a song for dancing the twist – solid and foundational, but not the whole picture.
Where the film falters is in its narrative coherence. The storyline struggles to convince, feeling disjointed and lacking a central thread. Adding to this, the polished Parisian accents of the two main characters are jarring and difficult to reconcile with the Malian setting. It’s as if they are dancing the twist to a completely different song, their movements out of sync with the environment.
The film touches upon a broader theme: the inherent conflicts when a nation adopts a socialist path. Inevitably, resistance emerges from those who oppose this direction, and often, the nascent regime resorts to suppression. This dynamic is portrayed with stark clarity in the film, highlighting the tensions and struggles of a society undergoing radical change. This political undertone is like the undercurrent of social commentary often found in songs that fueled dancing the twist – a seemingly simple dance with deeper societal implications.
The film’s conclusion shifts to 2012, depicting the situation in northern Mali under Taliban/jihadist control. It draws a parallel, suggesting that these imposed rules are even more oppressive than the socialist directives of the 1960s. This abrupt shift feels somewhat tacked on, a jarring twist in the narrative, much like unexpectedly changing the dance steps mid-twist.
Having no prior exposure to this director’s work, it’s challenging to place this film within a larger context. However, the plot’s fragmented nature and the somewhat contrived finale leave a sense of dissatisfaction. Despite its shortcomings, the film’s focus on Mali is noteworthy, offering a rare cinematic glimpse into the nation’s history. However, the question arises whether a French production team is ideally positioned to undertake such a project. Perhaps films about Mali should ideally be crafted by Malian filmmakers, particularly given the complex historical relationship between France and Mali. It might be too soon for French filmmakers to engage with this narrative, especially considering the recent French military intervention, Operation Barkhane, which ultimately proved counterproductive, leading to their replacement by the Wagner Group. This historical baggage adds another layer of complexity, like trying to dance the twist while carrying the weight of history.
Ultimately, this film warrants viewing, particularly for those with an interest in African politics, African history, or the legacy of colonialism. It serves as a flawed yet thought-provoking exploration of a complex period in Malian history, even if the narrative occasionally feels as uncertain and awkward as learning dancing the twist.
