Visual Liberation: Mambety Speaks…

A Cinematic Genius warns against the dangers of capitalism…

“We are done. I’m not speaking only about us here in Africa but of humanity, of man… The feeling I have is that we are done for if we have traded our souls for money.”

—Djibril Diop Mambéty,  Director of “Touki Bouki” & “Hyenas,” 1945-1998

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Djibril Diop Mambety, Senegals’s Rebel Filmmaker 

Most radical spirits and those who wished to “change the world” (a hollow term at this point) have left the arts, incredulous and overwhelmed that the “Arts” have devolved after having been wholly won over by corporate values and American imperialist hegemony.  The bourgeois affectation of middle-brow cinema has destroyed us: “Movies should be intelligent, but not dangerous to the establishment,” they demand. Even worse, everyone from Oprah Winfrey to HBO are in collusion and so 

we all

give in. 

There are very few people on this planet who see cinema as a liberation tool.  Instead, it is fair to say as Mambety lamented, that we have sold ourselves out…and for nothing in return except the specter of shadows and awards from the spectacle. All that seek to keep one enslaved. In this Brave New World, we not only accept this- we want this!

And while these Visigoths have obviously won (knowing full well the impact cinema could have on future liberation politics) – it is the perversion of the mirror we look into that disturbs me. Warped surfaces reflect our obscene desires and most heartfelt delusions. As if Frantz Fanon had written The Portrait of Dorian Gray – the gross image of our soul that hangs in the closet must be revealed and it’s own mask removed. It’s the mask of the mask of the mask that must be removed.

Keep storming the barricades of your imagination.  And for the love (or hate) of man – if you pick up a camera to make a movie have something to say other than “Action!” 

*Djibril Diop Mambety, the darker side of Senegals’s coin (Ousmane Sembene reflecting the lighter side) is the director of masterworks such as Touki Bouki and Hyenas, the only features he ever made. His work is taut, unrelenting and shaded with funereal satire. A radical in every way, he never pretended that life was getting any better and he never looked away from the problems inherent in his own life, Senegal, colonialism and the world at large.

The Cult Classic That Remains the Most Relevant Film Right Now In The USA

“As an Act of Protest – Best Black Movie Nobody Will See This Year.”

                          – Kam Williams, The Black World Today, Nov. 27, 2002

“Powerful…”

                        – Ryan Shriver, The NY Times All Movie Guide (2006)

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Che Ayende, as Cairo, an actor exasperated by racism, who creative growth leads him to become a revolutionary

 

You cannot have a revolution without having an art to go alongside it.  Sometimes that art is living itself, sometimes it’s the expression of the angst through blood. Sometimes the tears mean more in the glimpse of 24 frames per second. Sometimes, often in actual life, there is no time for tears — and certainly no poetry that comes along with it… “Revolutions are not fought in, of, or by poems,” as Umar from the Last Poets warned in As an Act of Protest.  But it certainly helps to have those poems going up into the sky like fireworks…and hoping that their residue settles onto a willing recipient before the final axe falls or before the final step of the American gestalt is taken.  You can’t clap with one hand.  But you can still wield a sword.  Or a pen.

 

 

In order to bring Dennis Leroy Kangalee’s controversial and haunting 2002 cult film As an Act of Protest to a new generation of film enthusiasts, activists, organizers, and those interested in revolutionary expression, Speller St. Films (who brought the world Wilmington on Fire in 2015) will host online screenings of the movie in an attempt to relay the vitality and importance of the film originally made in response to the murder of Amadou Diallo in 1999 and unfortunately now – the most relevant independent film, perhaps, in American history in the aftermath of George Floyd’s killing and Rayshard Brooks’ execution. The film charts the unmapped territory of the fears, inclinations, and proclivities of conscientious Black Americans who are aware that they are “walking in terrible darkness” as James Baldwin once asserted. The film expresses the angst and racism of a system riddled with racism like a corpse covered in tumors. From hostile bankers and a Theater community entrenched in thwarting the liberatory desires of Black dramatists to the hypocrites of Higher Education to families unable to confront the serious trauma of racism to an unbridled savagery contained within the American police force, Cairo – like a character out of Kafka – has nowhere to turn and the more he dares to open his eyes…the more racism he dares to see. Described once as an “internal Battle of Algiers” and “radical Taxi Driver” (had that film been a progressive movie) — As an Act of Protest is a perfect introduction to Dennis Leroy Kangalee’s art, his admiration for the Black Arts Movement — and a stellar example of an unheralded movement and radical inclination in American cinema and drama that went completely under the radar beginning twenty-five years ago. 

— Joshua Kibuka for the New Black Arts Alliance, Speller St. Films June 9, 2020

Stay tuned for more updates on the release of As an Act of Protest and please visit my page here for more information, clips, and a detailed history of my film…

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