Yeelen

It's surprising to see the number of rave reviews for this movie. As someone who is passionate and open-minded about all types of foreign cinema, I thought this movie was absolutely horrible with no redeeming value whatsoever.

Not only was it overly long, but it seemed like the director only had a budget of $10 to film what turned out to be nothing more than a meandering, incoherent, pointless piece of drivel masquerading as high art. This movie barely has any plot and NO characterization whatsoever. Sadly, the only memorable thing in the movie is scenes of actual animals being killed, which is terrible.

If, as other reviewers here have said this is how Africans see themselves, then is it any surprise African films don't get much exposure in the world market of cinema?

I also completely disagree with the reviewer who said that people with long attention spans will enjoy this movie. It's more like anybody who's accustomed to such basic cinematic elements as story or character development will not enjoy "Yeelen" as it features neither.

For a far superior film from a similar region in Africa, I would highly suggest Ousmane Sembene's "Moolaadé" from 2004. It too is filmed from an African perspective rather than a Western one...but it actually has a relevant, engaging storyline with fleshed-out characters for whom you actually care.

"Yeelen" on the other hand, is an excruciating, mind-numbing experience that I wouldn't even inflict on my worst enemy. It's as enjoyable as watching urine dry on a toilet seat.

This film is incredible. Africa has richer culture and history than any of us will ever understand, much of it lost to the sands of time and colonialism. This film offers a window on the past using real people and real destinations filmed in the mid 80s as a backdrop to the story. The actors are real. The location is real. One of the best films I've ever seen about Africa. This from a person who has been fortunate enough to live in Sierra Leone and Zimbabwe and visited 25 African countries.

This is an opportunity to experience a film that also feels like a documentary about an Africa that is now lost or almost gone.

If absolutely nothing else, "Yeelen" offers a look at a society that we in the west don't often get to see. In this case, it's the Bambara people of Mali; the movie also includes the Dogon and Fulani. Having taken a sociology-anthropology class, I already knew about them. The plot centers on a warrior having to battle an evil sorcerer who is also his father.

I should identify that this is not a movie for people with short attention spans: the action moves along very slowly. But don't worry. Despite how it takes a long time for everything to happen, you feel like you've gotten a lot out of the movie. Above all, I like to see how Africans view themselves as opposed to how we in the west view them. So I certainly recommend this movie.

Souleymane Cisse's groundbreaking feature makes no concessions to Western attitudes or tastes, but why should it? It's a truly African experience, made from a totally native perspective and set in a timeless, pre-colonial landscape, where sorcery and enchantment are merely extensions of natural law. The story unfolds in the epic tradition of true mythology, with the young son of a despotic tribal magician embarking on a fabulous quest for wisdom and enlightenment, which in the end will not only bring him face to face with his powerful father but usher him into manhood as well. There's a genuine sense of discovery to the film, both for its visionary depiction of Bambara tribal folklore, and also in the thrill of witnessing a local African production break into the international arena. Unlike other examples of Third World cinema this is no simple, primitive anthropology lesson, but a handsome, sophisticated motion picture every bit as luminous as the title suggests.

Here is a great opportunity. The chance to discover how human beings were BEFORE getting trapped in the WEB (excuse the pun) of technology. Man's respect and position in/for nature, reminiscent of those ties which still (barely) exist amidst the Maoris and Eskimoes, and the surviving Indios. Africa, the mother of mankind. Magic, NOT as Hollywood sees it. And for N.Y. intellectuals and Viennese literati, a Freudian twist which is as old as Mythology. The Father/Son clash. This ranks alongside the best of Satyajit Ray, and , in some ways, shares his themes. This is Brother Africa as Ray is Sister India. This is the intense celebration of Man's strength, and of his weakness. An African masterpiece. A patient sequence of revelations. A real JEWEL. And if you are here, you are either a lucky newcomer or a lucky viewer. Thankyou Sissé. Thankyou Africa!