Xala

Widely regarded as Ousmane Sembène’s finest achievement, Xala is a cutting morality tale that equally blames the corruption of Senegal’s sociopolitical environment on Euro-centricity and African auto-destruction. Read full review

This is not just a treatise on post-colonialism and class. Sembène boldly uses his female characters to comment on Senegal's chauvinist patriarchy. Read full review

It is part fable and part satire, but it is much more: with the greatest fineness and delicacy, Mr. Sembene, the Senegalese writer and director who made this picture, has set out a portrait of the complex and conflicting mesh of traditions, aspirations and frustrations of a culture knocked askew by colonialism and distorting itself anew while climbing out. Read full review

The actors are wonderful, especially the women who play El Hadji's first two wives - ladies of magisterial personality, social shrewdness and sexual pride. The wedding sequence in Xala makes the one in "Godfather I" look like a wedding party at McDonald's. This allegory of impotence in the body politic shows Sembene on his way to becoming an African Moliere. [13 Oct 1975]

Sembène depicts a corrupt system that replaced white dictators and profiteers with black ones; the symbolic ending, a glimmer of revolutionary hope, is as gratifying as it is implausible. Read full review

The jokes and details are delightful, yet there's real anger behind them, and it bursts spectacularly into view in the concluding frames. Read full review

Xala means sexual impotence, and the film, culled from his own novel, is a brilliantly funny, ironic satire about post-colonial Senegal. [21 Dec 2000, p.13]

Xala fictionalizes the key years of post-independence in Africa. It is a story of choice: of the different paths Africa could take on its road to the future. Read full review

Despite the rather washed-out color photography it's very much worth seeing. Read full review

Another indictment of pervasive corruption and perhaps Sembene's most celebrated film, it was heavily censored in Senegal on its release in 1974 and it is not difficult to see why. [01 Jan 1995, p.30]

The major problem with the film is that the exposition is not nearly as clever as the premise. After warming to the idea behind the movie, one tends to cool off as it trudges toward a resolution. Read full review