Bamako

I'm hardly an expert on African economics, or social life, but this story whose political viewpoint is clearly African does what I think a movie should: it presents both sides of an issue -- in this case Mali's financial struggle and whether the World Bank and IMF should be blamed for the distress of the people.

Through a story that revolves around a court case, we see the stories of struggle of a wide range of people: mother, educator, escapee, unemployed person, and the average guy trying to make ends meet but having a difficult time.

For me, it clarified some of the issues and effects of fairly extreme poverty and lack of government prioritization for social services, health and education. It made the argument that a government may be at fault for selling out the country's future at the expense of developing a stronger base.

The bleakness, however does something bigger, or I hope it does -- I hope it gives strength to continue to fight as the producers, I think, would like.

See this. Africa is an important piece of the world and an important piece of the globalization of the world.

As recently as Ousmane Sembene's 2004 Moolaadé we saw a sort of African town meeting: such spirited democratic palavers are a feature of African local life. In Bamako, also known as The Court, Sisako has staged a mock trial of the IMF, the World Bank, and the other international financial institutions run by the rich countries that have perhaps contributed to the impoverishment and demographic ravaging of contemporary Africa more than they have helped the continent. This event takes place in the middle of a big busy square in a section of the capital of Mali, Bamako.

There is a whole panoply of characters – a beautiful queen bee (an example of the grace and poise of African women), Melé (Aissa Maiga) and her husband Chaka (Tiecoura Traore). Melé's a popular singer whose marriage is disintegrating and two of her spirited songs are integrated into the film. People watch TV, and the director ironically injects into his film a "western" set in Timbukto, in which incongruous white men as well as Palestinian director Elia Suleiman and Bamako's producer Danny Glover shoot each other. The effect is grotesque, but that's the point: why should Africans be watching TV westerns? Elsewhere on the earthy "set" of the film there's a young man, also beautiful, who lies dying inside a nearby building with no medical care. There are many children, some playing about, some being breast-fed. A couple marry, and the festivities interrupt the trial. There's a flinty gatekeeper who decides who can come in and who can't. There's a traditional griot who's one of the "witnesses" and who ends the proceedings with a hypnotic chant (not translated, but strangely stirring and stunning). There's another "witness" – a former schoolteacher – so hopelessly demoralized he refuses to utter a word; a sound recordist; a video photographer who says he prefers to take pictures of the dead because they're more real; and many authentic-looking extras, including a variety of dried-up tough young-old (or ageless) stick-men, all of them coming and going.

You get a vivid sense from all this, which is rhythmically inter-cut with the trial itself, of the harmonious seeming chaos of African village life; the color, the beauty and dignity of the people. You get above all a sense that life goes on. There are two white men on the "stage" of the trial, one an advocate for the international organizations (Roland Rappoport) and the other (William Bourdon) eloquently speaking for the African people and for socialism who concludes that the first world should be sentenced "to community service" "forever." Eloquent though he is, a Malian woman lawyer who speaks after him (Aissata Tall Sall) is more touching.

Like An Inconvenient Truth, Bamako's trial presents facts and arguments of enormous present day importance – this time surrounding not global warming and the disintegration of the earth's eco-system, but another set of the planet's major problems: the social imbalances, the domination of the many by the few; poverty and disease, "terrorism" used to excuse world domination, the richest nations' doing harm while seeming to do good; the ravages of globalization, the privatization of natural resources down to land and water, perhaps ultimately to air; the national debts of poor nations collected by the economic organizations of the rich ones, and thereby preventing the poor ones from gaining any ground against the ravages of poverty and underdevelopment. .

This is powerful stuff. Sisako is, in theory, presenting both sides of the story, though it is obviously which side he is on and which side is in the majority on screen. This is polemic. The international organizations obviously aren't overtly setting out to destroy Africa – are they? It is preaching; but it is done in a rich and colorful and dramatically moving way. The film picked up a US distributor during the New York Film Festival. It's not clear whether the way the print was presented was accurate. This seemed to be a projection of a digital copy that lost the surface beauty of the original. The colors of Jacques Besse's photography were beautiful, but dimmed. In French and Bambara (the Malian language).

Bamako is more a PBS special than a flat out film. It chronicles a trial in which the World Bank is on trial itself. The film is quite anti Bush-era corporate interests (IMF, World Bank, and G8 are among the villains name-checked), but through the film (I don't even know what it is, a doc. or a film) comes the film maker's true anger which is surprisingly stimulated. In between the quasi-entertaining court-room arguments and the callous shots of town, there isn't much room to inhale pure film making. (There's even a bizarre mock-movie staring Danny Glover as in assassin in a haphazard African town.) And yet, despite the film's slog, there's something in Bamako that keeps it quietly vital, making it a true case of moral politics but pretty much a slog of a film.

It is impossible to resist this little innocent beauty of a movie. The heartbreak of today's Africa is overwhelming. Wars, violence, immense poverty, AIDS and perhaps the worst of all, hopelessness. There doesn't seem to be a light at the end of a tunnel. " Bamako" is a very unusual movie. Even its description is inaccurate. The mock trial of the World Bank, IMF and other immoral bloodsuckers takes the most of the movie. Little personal tragedy of Mele and Chaka brought upon by the despair of the everyday Mali, is unfortunately just a sideline, never fully explained or told. Because of that this powerful movie seems more like a documentary or a political tirade.

Mauritanian director and writer Abderrahmane Sissako's Bamako will not be for everyone and by everyone I mean the majority of both mainstream American as well as European film-goers. The film is of the kind that borders on documentary in its approach and general feel; people talk for long periods about topics that a lot of us will have perhaps read about here and there in whatever news coverage it's been given in a respective country but few, unless you're an avid follower of African politics and the financial state in Africa, will have had as much exposure to the subject as you get in this film. In general, there are long and detailed monologues on the subject of Africa's, as a continent, financial and general situation. It is a piece of work that teeters between documentation and a sheer, out and out neo-realist piece set amidst the locals going about their business.

The title: 'Bamako', is loud and proclaimed. The word is a proper noun – it is the capital city of Mali, an African country, and that is the tone for the film focusing on a courtroom based discussion regarding the International Monetary Fund and the World Bank, a corporation set up to help fund developing or underfunded nations. The topic is straight forward: the reason the state of many African nations are in the state they are. You can imagine it being a very personal subject to many-an African director but Sissako handles it very well and it resonates; the film is not about one nation, despite having the capital of a certain nation as its title, but rather the state of a continent as a whole and the director doesn't focus on individual nations but gives everybody a voice.

The courtroom of the title it has been released as here and there is really nothing more than a patch of sandy land in the middle of an urban area. The officials are all dressed smartly and each of them are both French and Caucasian. It's here I think Sissako places the audience into the bodies of these officials, those that are of a 'Western' origin more than anything and those that must stand and listen to the African villagers state their cases to do with living conditions as well as both quality and amount of facilities they have available to them. It's here we feel as naive as the court officials, perhaps as humbled as they are when people give their statements and accounts – some are loud and angry with a woman peeling off all these facts and figures for our benefit whereas others are quieter and more humbling but one such individual cannot say anything at all and this may be the most upsetting for most viewers.

Perhaps there is a certain irony behind the most effective 'statement' being one delivered by someone who doesn't say anything at all, given how the film likes its extended dialogue sequences. But I think that's down to good direction and good writing if anything: the timing of the silence within the piece. Through the statements, we find that the mere area is unhealthy and lacking medicine and places to earn a living, something that should rebound on us when thinking of the bigger picture and how this is one area in Mali we're dealing with, despite the hearing's overall link to the continent.

One cannot talk about the film without mentioning the bizarre manner in which it veers off out of the world it's taken so much time in establishing and into something else. About half way through the film, from memory, we begin watching a film within a film – a daft looking Western starring Danny Glover which I suppose acts as the film's anchor around which the theme revolves. The western film is entitled 'Death in Timbuktu', a scathing reminder that 'death' is indeed happening all the time in Timbuktu, a town in Mali, more down to the malnutrition than trigger happy cowboys. It sees American and French actors/characters struggling to deal with their surroundings which is a wired hybrid of the Old West and a typical African village with sandy terrain, huts and everything else. The pit-stop could be seen as a metaphor for Americans, the French and Western economic powers in general struggling to deal with a 'problem' in Africa as lots of really unnecessary deaths keep happening – again, in real life it's not death by a bullet as much as it is poor quality conditions.

What I like about Bamako more than, for instance, 'Waking Life' is its approach. We're not being talked down to here and we're not following some daft, trippy sequence of events that shows off what the latest computers are capable of. Instead, we have a real situation being presented to us and arguments established before events developed. This isn't a lecture or a 'talking down to' of the audience, this is reality made by someone who's been there and is producing a film that doubles as a statement. It won't be a film for everyone but the loose narrative to do with a breakup between two people offers us a fitting conclusion, an individual reduced to tears as the emotion floods to the surface as they realise not only their life but the verdict surrounding the hearing is in a purgatory and the only outcomes are two extremes either way.