A the many roles of film, not the least, is to teach, educate. With the television revolution, the democratization of the screens, this principle seemed to leave the room, on all the newscasts that were cast before the pass, and move into the home. But that film is, remains, and will be a perfect vehicle to show the reality, startled her, stripping the daily happenings of life as is, or dressing in the colorful robes of the script, is as certain as irreproachable. The finest example of film in black Africa, Senegalese Ousmane Sembène, figure often compared to Satyajit Ray both political and aesthetic approach of his images and the flag of a film-you, the African, that of Ray, the Indian subcontinent, virtually invisible to the eyes of the foreigner to his work, he spent years filming show titles that impinge on the harsh reality while both amused and shocked his countrymen and to the European mainland. One of the most successful times in the awareness was tireless peeper was irrational to treat the issue of FGM in Moolaadé (2004). In it, a group of girls who have escaped from the ceremony of purification of their bodies, passing through the removal of the clitoris, in any deprivation of sexual pleasure than those designed for procreation, they take refuge at home of Colle Ardo (Fatoumata Coulibaly), a mother seven years ago and refused to let her daughter Amasatou ( Satimat Traoré) suffer the consequences of tradition at knifepoint, making the girl a bilakoro , an impure. Even with the rejection of the purification, executing dressed as priests on behalf of tradition, when in fact they are merely traitors to their feminine condition, of mothers who had voluntarily surrendered their daughters to the Selinda , the act that makes every girl in marriageable en capaz de soportar el sufrimiento; de la totalidad de la comunidad masculina del poblado, que maneja con férrea mano Dugutigi (Joseph Traoré); de los que callando otorgan, como Ibrahima (Moussa Théophile Sowié), el jóven hijo de Dugutigi que regresa con traje y corbata, triunfal, de Paris, pero a quien se le niega su libre elección de casarse con una bilakoro ; de Ciré (Rasmane Ouedraogo), el marido que al regreso de sus tareas agrícolas es instado a que azote a su esposa con el cinturón, infligiéndole un castigo ejemplarizante; con sus insultos, la desafiante Collé Ardo se niega a revocar el derecho de asilo al que huye, el moolaadé , la gracia que ha de be respected by anyone who does not want to suffer the curse of animism.
Set on a site of dust and Islam in Burkina Faso, but that is the representation of any remote corner of Africa, Sembène in Moolaadé morality tale , dramatization of the tragedy that is female circumcision, drama here told with humor and just about honesty, loading the inks not only against the bloody tradition, but also attacks the corruption of the UN troops, the character of Dominique Zeid, mercenary salesman and womanizer, summarized in a couple of revealing lines hundreds of reports the actions of the peacekeepers, "the marriage arranged, pedophilia, misread the Koran, the hypocrisy of the greatest joys of sex. And it does around a square in which religion go hand in hand (the fantasy mosque with the minaret topped by an ostrich egg), technological progress (the pyre of radio) and the nature and its secrets ( the huge mound that is the magic around which civilization is based, population, underground chamber smoke, showing the communion of the facts and the environment), and never deviated from the main theme, ablation, and leaving clear that the process of liberating Africa not come at the hands of children who have been sent to Europe to study, men who have the power, but women who know that their oppression to mean the birth of a fairer society, powerful, but has be traveled a long way: women are rebelling on the screen when one is physically punished in public, when the cries of the mother who has lost a daughter bled during the ceremony or the cries of two whose children have decided, full of fear and rejection, thrown into a well-water as a relief: it gives life to animals and people, the innocent-off becomes unbearable.
In an era of plastic can surprised an issue as rough as the denial of basic rights on behalf of the times immemorial and ancestors, and inviolable personal decision of coping with sexual fulfillment, a revelation as abrupt as the incompleteness of the trilogy about the heroism of everyday life in contemporary Africa that began with Faat Sembène Kiné (2001) and could only continue Moolaadé , before he died in 2007 at 84 years of age. Just as we can catch unsuspecting Africans citizenship, which do not cross the span of access to a home if it prevents a fragile and colorful string, reporting from respect -No room for the planes of the ritual masks much like the teacher Sembène-and to a lesser extent, the progress that brings the knowledge - "Hope begets life, women are the hope," he says Moolaadé , a television antenna is the last shot.
(Although Sembène not roll, sure its films, removal of thoughts and approaches, has led to is closer the time when Africa raise the anchor, cast off and hoisted the sails to cry Wassa, Wassa!)
Moolaadé (2004)
In the book 1001 movies you must see before you die (Editorial Grijalbo) detail 1 title of O. Sembène: Ceddo (1977) .
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