Touki Bouki
| Touki Bouki | |
|---|---|
 |
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| Directed by | Djibril Diop Mambéty |
| Written by | Djibril Diop Mambéty |
| Starring | Magaye Niang Mareme Niang |
| Music by |
Josephine Baker Mado Robin Aminata Fall |
| Cinematography | Pap Samba Sow |
| Edited by | Siro Asteni Emma Mennenti |
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Production
company |
Cinegrit
Studio Kankourama |
| Distributed by | World Cinema Foundation |
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Release date
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Running time
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95 minutes |
| Country | Senegal |
| Language | Wolof |
| Budget | $30,000 |
Touki Bouki (pronounced [tukki bukki], Wolof for The Journey of the Hyena) is a 1973 Senegalese drama film, directed by Djibril Diop Mambéty. It was shown at the 1973 Cannes Film Festival and the 8th Moscow International Film Festival.
The film was restored in 2008 at Cineteca di Bologna / L’Immagine Ritrovata Laboratory by the World Cinema Foundation.
Mory, a charismatic cowherd who drives a motorcycle mounted with a bull-horned skull, and Anta, a female student, meet in Dakar. Alienated and tired of life in Senegal, they dream of going to Paris and come up with different schemes to raise money for the trip. Mory eventually contrives to steal the money, and much clothing, from the household of a wealthy homosexual while the latter is taking a shower. Anta and Mory can finally buy tickets for the ship to France. But when Anta boards the ship in the Port of Dakar, Mory, poised on the gangplank behind her, is suddenly seized by an inability to leave his roots, and he runs away madly to find his bull-horned motorcycle, only to see that it has been ruined in a crash that nearly killed the rider who had taken it. The ship sails away with Anta but not Mory while the hauntingly melodious song "Love Is Fleeting, But Rejection Lasts a Lifetime" is sung and Mory sits next to his hat on the ground, staring disconsolately at his wrecked motorcycle. The film is written in French and Wolof, with English subtitles.
Based on his own story and script, Djibril Diop Mambéty made Touki Bouki with a budget of $30,000 – obtained in part from the Senegalese government. Though influenced by French New Wave, Touki Bouki displays a style all its own. Its camerawork and soundtrack have a frenetic rhythm uncharacteristic of most African films – known for their often deliberately slow-paced, linearly evolving narratives. Through jump cuts, colliding montage, dissonant sonic accompaniment, and the juxtaposition of premodern, pastoral and modern sounds and visual elements, Touki Bouki conveys and grapples with the hybridization of Senegal.
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Wikipedia