Mory, a cowherd who rides a motorcycle mounted with a cow’s skull, and Anta, a university student, have met in Dakar, Senegal’s capital. Alienated and disaffected with Senegal and Africa, they long to go to Paris and work up different con schemes to raise the money.
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Mambety's most famous film, but not his best! His masterpiece is THE LITTLE GIRL WHO SOLD THE SUN ("LA PETITE VENDEUSE DE LA SOLEIL"). P.S. If you enjoyed TOUKI BOUKI, be sure and see the follow-up by his neice, Mati Diop, A THOUSAND SUNS (2013).
A formally audacious, visually daring Senegalese film about an outlaw couple who dreams of leaving Senegal for France, eschews typical narrative to create something disturbing, satirical, & absurdly comic. Tradition and modernity, culture and colonialism clash, taking its cues from the French New Wave (an interesting formal choice, for a film so rife with themes of French colonialism in Africa).
An anthropological snapshot of Senegal as much as it is a narrative-driven film about two young students trying to find themselves. I loved the first person camera shots and frenetic editing. Life and death is a common motif throughout the film.
Nice portrayal of the surrounding environments, and I enjoyed the screen presences of the characters, but it took a little while for (most) everything to become connected story wise. I know I would have enjoyed it more had the dialogue and subtitles been properly synchronized. For me this first time seeing it, "Touki Bouki" was more informative than it was entertaining.
What else could I want of a film? Stylish but always in service of feeling, a funny, heart-wrenching tale of post-colonial tensions and an uncertain future. Really wonderfully edited. And, of course, this is 70s film stock supporting an excellent sense for color composition. Great story! (this movie is NOT "french new wave but in Senegal" whatsoever, but if you like the style of movie, you'll like this)
Una película con un interesante formalismo en donde el género parece estar neutralizado. Tiene de comedia, drama, fantasioso, a veces excéntrico, pero ninguna de estas emociones impera. Diop con su película aumenta un nombre más a la lista sobre amantes prófugos al lado de "Bonnie and Clyde" o "Badlands".Por último, por qué esa reacción del personaje masculino. ¿Acaso el arraigo el que le impide alcanzar la fantasía?