buud yam
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pa kpop dance ft. yam ah mee & lim boon heng 29 - 5 - 2011
films shown in aff, inc. programs: wend kuuni / god’s gift (1994); zan boko (1993); rabi (1993); buud yam (2008) .
download and stream the full movie at urltoken buud yam is the story of a young man who lost his mother and father as a small child. in spite of his adoptive family' s profound affection he lives a distressing tragedy .
i tend to miss films that are told with heart. the massive knowledge and showing off isn' t always needed when venturing into making of a film. buud yam is very simplistic but as many times with african cinema, brings out deeper colors of the content' s state. the key in buud yam is the protagonist going to a journey and finding himself, accepting his state in order to grow as a human being. i' m not familiar with wend kuuni to which buud yam is a relative or even sequel but perhaps seeing these two films back to back could reveal their colors better. nevertheless the magical feeling and mysticism that the film conveys likely pays tribute to the history and roots…
in 1997, buud yam was shown at the cannes film festival during directors fortnight and had its north american premiere at the toronto international film festival. it won the etalon de yennega (the grand prize) at the 15th ouagadougou panafrican film and television festival .
in 1997, buud yam was shown at the cannes film festival during directors fortnight and had its north american premiere at the toronto international film festival. [ 1 ] it won the etalon de yennega (the grand prize) at the 15th ouagadougou panafrican film and television festival. [ 7 ]
gaston graduated in history and cinema in paris. he became worldly famous thanks to his features wend kuuni (french cesar for best francophone film 1985), zan boko (silver tanit, carthage film festival 1988), rabi (special jury prize, carthage film festival 1992) and buud yam (etalon de yennenga, fespaco 1997) .
in 2005, director gaston kaboré, who won the top prize at fespaco in 1997 for his film buud yam, opened a training school for new filmmakers in ouagadougou. the school, named imagine, was built with millions of cfa of kaboré' s own money and opened its doors for the panafrican film and television festival of ouagadougou 2005 .
my issues with buud yam are pretty similar to my issues with its predecessor, wend kuuni: both films feel pretty staged and actorly, and though i have no vendetta against apparent artifice in cinema, this has the effect, for me, of scratching out anything that might come out between the lines. i prefer this one a smidge due to the occasionally long shots depicting some element of life in burkina faso, though these intermittent scenes rarely seem to be used for much outside of spatial establishment and narrative contextualization .
filmography: regard sur le vie fespaco (1979); wend kuuni / god’s gift (1982); zan boko (1988); rabi (1991); la vie en fumée (1992); madame hado (1992); un arbre appelé karité (1993); chronique d’un échec annoncé (1993); roger le fonctionnaire (1993); lumière et compagnie (1995); buud yam (1997); le loup et la cigogne (2007); l’afrique vue par… [ africa seen by… ] – deux mille générations d’africains (2009) .
i' m discovering a gentle calm about african cinema, not to mention a certain primal offering that doesnt feel manipulated and focus grouped to death. buud yam encompasses this idea freely. it moves at it' s own pace in it' s own methods. following the story of a young man in search of a healer for his sick sister. it' s simple like a classic fable but deeply resonant in terms of it' s universality of trying to help someone you care about. it' s not exactly polished but that sort of adds to the charm. african cinema tends to be so steeped in culture and history that some things probably go straight over my head, yet it' s these moments of purity that brings something special to the cinema we tend to lack here in america .
many of the african films that reach western audiences are produced in senegal. in fact, senegalese cinema enjoys a renown and longevity unknown in other countries south of the sahara, due, in part, to the pioneering efforts of ousmane sembène and paulin soumanou vieyra. senegal gained independence from france on 4 april 1960, but it was not until the early 1970s that the newly independent state created a national infrastructure for the development and promotion of senegalese cinema: in 1974 the société d' importation, distribution, et exploitation cinématographique (sidec) and the now defunct société nationale du cinéma (snc); and finally in 1984, the société nationale de promotion du cinéma (snpc), whose goal was to take over all functions of the snc and to assist the initiatives of sidec .
nigeria, with 120 million inhabitants, is the most populous country on the continent, and shares with ghana the phenomenon of a burgeoning video economy. although nigeria gained independence in 1960, indigenous feature filmmaking did not begin until 1970 with the lebanese coproduction
by the african american ossie davis (1917–2005). during the early 1970s, three or four features were produced every year, and until the early 1980s there was a trend toward higher quality films, including 35 mm production. the nigerian film corporation was established in 1979 with the mandate of encouraging local film production. ola balogun (b. 1945), a novelist and playwright who was trained in cinematography at l' institut des hautes études cinématographiques (idhec) in paris, is nigeria' s most prominent filmmaker, known for directing comedies and musicals. he has produced or directed at least one feature every year since 1972, the year he directed
( 1975) is sub - saharan africa' s first musical; it spurred a series of films incorporating yoruba popular theater on film. other notable films include
( 1983) were largely inspired by current events. by the end of the 1970s, and as lagos became more dangerous at night, many middle - class homeowners turned to videocassette players so they could watch video movies in the safety of their homes. video film production is an important industry in nigeria and is practiced as a solution to film distribution bureaucracy. although some criticize their technical shortcomings, the impact of video films as an expression of cultural identity cannot be denied .
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in an early 19th century african village, wend kuuni - a young man, lives with his adopted family after his mother was killed as a witch. when pughneere - his adopted sister - becomes ill, ... see full summary »
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a day laborer is badly beaten, and a young man nurses him back to health .
a young man with magical powers journeys to his uncle to request help in fighting his sorcerer father .
in an early 19th century african village, wend kuuni - a young man, lives with his adopted family after his mother was killed as a witch. when pughneere - his adopted sister - becomes ill, the villagers suspect wend kuuni. in order to save pughneere' s life (and his own) he must set out on a journey to find a healer. his quest brings him in contact with people around him and is a journey of self - discovery .
enjoy a night in with these popular movies available to stream now with prime video .
with: wend kuuni... .. serge yanogo pughneere... .. amssatou maiga komkieta... .. severine oueddouda
to avoid his mother’s fate and save his sister, the youth sets forth on horseback on an arduous quest that will take him through forests and across deserts. at last, nearly dead himself, he stumbles onto a wise old healer whose potions cure pughneere. with heartfelt apologies and much rejoicing, the villagers reinstate wend kuuni as a member in good standing of the community .
on one level, the story is similar to western and eastern myths about the hero and his quest for a lost grail, or, in this case, a magical medicine. not only does it restore health to the sick girl, but it dissipates the clouds of superstition, intolerance and suspicion that hang over the otherwise happy village. kabore’s message, arising out of the story itself, is that we must be tolerant of people different from ourselves .
as wend kuuni, yanogo is a dignified young horseman with a faraway look in his eyes, who knows he is set apart from his native - born companions. it is easy to see why the two graceful teenage girls, pughneere and her friend komkieta (severine oueddouda), adore him. last scene sets the stage for a third round of wend kuuni stories, as the young hero asks himself who his real father is .
kabore is a masterful raconteur able to hold the viewer’s attention despite the typical slow pace of african films. he tells his story in exceptionally clear, simple images that are restful to look at, aided by jean - noel ferragut’s sharp - edged cinematography. composer michel portal adds an unexpected modern note to the timeless story through his musical commentary, combining native instruments with a soft jazz sound .
production: (burkina faso) a cinecom (burkina faso) / caroline (france) co - production. (international sales: caroline .) produced, directed, written by gaston jean - marie kabore .
crew: camera (kodak color), jean - noel ferragut; editor, didier ranz; music, michel portal; art direction, joseph kpobly; sound (dolby stereo), daniel olivier. reviewed at cannes film festival (directors fortnight), may 10, 1997. running time: 97 min .
with: wend kuuni... .. serge yanogo pughneere... .. amssatou maiga komkieta... .. severine oueddouda
to avoid his mother’s fate and save his sister, the youth sets forth on horseback on an arduous quest that will take him through forests and across deserts. at last, nearly dead himself, he stumbles onto a wise old healer whose potions cure pughneere. with heartfelt apologies and much rejoicing, the villagers reinstate wend kuuni [ … ]
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set in the haunting landscapes of burkina faso, a man’s hunt for a traditional healer to help his ill sister leads him to confront his own inner being .
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one of the most impressive african films i have ever seen. a fascinating journey which reminds of another film called yeelen. these are myths to live by, and the most traditional forms of oral story - telling get passed on through cinema .
a great example of a film where a very simple and straightforward story, through serene and focused determination, is elevated to something truly beautiful. spirituality and supernatural forces connect and intermingle with the raw forces of nature and life in general, manifesting itself through one man' s journey of burkina faso' s incredible landscape. the acting feels natural and portal' s music fits perfectly .
email: info @ irishfilm. ie, phone: + 353 1 679 5744. bookings: 01 679 3477, ifi booking
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director: gaston kaboré country: burkina faso year: 1997 running time: 99 min. language: moré
set in a nineteenth century village, it follows a group of characters from kaboré’s debut film wend kuuni. wend kuuni is a young man who is suspected of being responsible, through the use of sorcery, for his adopted sister’s ill health. to help his sister, and clear his name, he tries to find a healer who uses the legendary “lion’s herbs”. he also searches for his own roots .
( source: through african eyes – dialogues with the directors, bonetti mahen and reddy prerana (editors), 2003, african film festival, inc. and printinfo jv llc, yerevan, armenia, p. 26 )
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the film draws on the african oral tradition. set in a nineteenth century village, it follows a group of characters from kaboré' s debut film wend kuuni. wend kuuni (serge yanogo) is a young man who is suspected of being responsible, through the use of sorcery, for his adopted sister' s ill health. to help his sister, and clear his name, he tries to find a healer who uses the legendary
lion' s herbs
. he also searches for his own roots .
the film draws on the african oral tradition. [ 4 ] set in a nineteenth century village, it follows a group of characters from kaboré' s debut film wend kuuni. [ 5 ] wend kuuni (serge yanogo) is a young man who is suspected of being responsible, through the use of sorcery, for his adopted sister' s ill health. to help his sister, and clear his name, he tries to find a healer who uses the legendary
lion' s herbs
. he also searches for his own roots. [ 5 ] [ 6 ]
eke, maureen n. ; kenneth w. harrow; emmanuel yewah (2000) .
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juan andrés arango is a colombian - canadian director, screenwriter and director of photography. he has worked as a screenwriter and director in his native colombia as well as in canada, where he traveled after attending concordia university’s exchange program during his studies at the film and television school of the universidad nacional de colombia. in 2003, he started his master studies in cinematography at the university of barcelona (escac) and went on to practice his craft in amsterdam. during this period he began working on his first feature film
. the film had its world premiere at un certain regard in cannes, in 2012. it has since played in more than 80 festivals around the world and has won several awards. it was selected to represent colombia at the oscars in 2014. his second feature ,
2016 and its international premiere at san sebastian. it has since traveled to more than 50 festivals and has won several awards. juan is currently writing and developing « light of ungava », his third feature .
yanick létourneau is the owner and cofounder of peripheria, a film production company founded 17 years ago with a mission to produce director - driven stories for local and international audiences .
he’s currently producing “lemonade”, a drama shot in montreal by romanian director ioana uricaru, in coproduction with cristian mungiu from mobra films (romania), 42films (germany) and filmgate from sweden. yanick recently produced juan andrés arango’s “x quinientos” (2016) in coproduction with septima films in colombia and machete in mexico. the film premiered at tiff and had its international premiere at san sebastian. it since traveled to more than 50 festivals and has won 4 prizes. yanick also recently produced erik cimon’s documentary “montreal new wave” (nominated for three gemini awards) as well as zayne akyol’s feature documentary “gulistan, land of roses”, in coproduction with the nfb and mitosfilm in germany. the film had its world premiere at vision du réel and hot docs and has since been a critical success in the festival circuit winning several prizes including the prestigious doc alliance award. yanick is currently developing several feature film projects such as the dramatic comedy “passover” by daniel schachter; martin laroche’s comedy “12 images / seconde”; ariel nasr comedy set in afghanistan “the key” and meryam joobeur first feature, “roman ruins” .
yanick is a member of ace, and alumni of the cannes producers network, rotterdam lab, transatlantic partner, ifp, tiff producer lab and tiff talent lab .
idrissa ouédraogo (born 21 january 1954 in banfora, burkina faso) is a film director from burkina faso who creates films set within africa, often exploring the conflict between rural and city and tradition and modernity. he is best known for his feature film tilaï, which won the grand prix at the 1990 cannes film festival and samba traoré (1993), which was nominated for the silver bear award at the 43rd berlin international film festival .
steven markovitz has over 20 years’ experience on feature films, documentaries, short films, distribution and festivals. steven co - founded the production company big world cinema in 1994 as well as encounters south african international documentary festival in 1999. he recently established electric south which produces virtual reality and a distribution arm african screen network .
steven has produced, executive - and co - produced many short films, including inja / dog (oscar nomination 2003), and husk, (premiered in competition, cannes film festival 1999). steven markovitz was executive producer of latitude, a series of nine fiction films from eight african countries including wanuri kahiu’s award - winning kenyan science fiction short pumzi (sundance 2010), and the shorts omnibus african metropolis, which has screened at over 50 festivals. steven also executive - produced beyond freedom (berlinale competition 2006) .
he has produced and co - produced over 50 documentaries, many of which have screened at festivals such as sundance, berlin, tribeca, idfa, hotdocs, tribeca and have sold to television worldwide, including beats of the antonov by hajooj kuka which won the audience award, toronto international film festival, 2014, and congo in four acts which premiered at the berlinale forum. most recently, he coproduced winnie which won best director, world documentary competition at sundance 2017 and has been sold to netflix .
khalo matabane is a south african filmmaker who directs documentaries, fiction and tv drama series. he is currently in post production with his feature film ”the number” a prison gang movie. his last production was a feature doc ”nelson mandela the myth and me” which won the jury prize at idfa (international documentary film festival of amsterdam) and was screened on bbc, arte, nhk (japan), yle (finland), (sabc) south african broadcasting corporation and dr (denmark). he has also directed ”conversations on a sunday afternoon” which was screened in berlin and toronto film festivals. his tv drama series ”when we were black” a coming of age story set against students uprisings in soweto, was nominated for 12 awards at the south african film and tv awards and went on to win 7 including best director and tv drama series of the year. khalo has also served as a jury member at the sydney international film festival in australia and the african asian film festival in milan. he has also participated in workshops and been resident director at brown and berkeley universities in the usa .
stefano was born in johannesburg and studied in italy where he co - founded stefilm. since 1988, he has produced several documentaries, such as “vinylmania” (goteburg iff, chicago int. movies and music festival, rotterdam iff…), “char, no man’s island” (golden kapok guangzhou, special mention diff - dubai, berlinale forum 2013), “the queen of silence” (idfa 2014; doc point – helsinki 2015; silver horn best doc at krakow iff 2015; golden nanook – grand prix best doc flahertiana idf perm 2015; best doc let’s cee iff vienna 2015) .
founder member of fert (filming with a european regard in turin), he directed 17 editions of the annual workshop documentary in europe. he chaired european documentary network and he is national coordinator for input, television in the public interest. he tutors on film production and pitching for organizations such as venice biennale, cannes film festival, durban film mart, eave, festival des 3 continents, torino film lab…
he directed the publication “africa and the centenary of cinema” (fepaci / présence africaine), and always organized professionals training sessions in africa. he was also jury member of international film festival (locarno, venise, cannes, rotterdam, berlin, ouagadougou) .
thanks to his desire to transmit, gaston founded in 2003 the institute imagine that he actually manages .
balufu bakupa - kanyinda was born on 30 october 1957 in kinshasa. he studied sociology, history and philosophy in belgium. he took courses in filmmaking in france, the uk and the usa .
from 1979 to 1981 he was an instructor in the french cultural centre in lubumbashi. in 1991 he made his first documentary, dix mille ans de cinéma, and in 1993 released a second documentary on thomas sankara. his first fiction film was le damier – papa national oyé! (the draughtsmen clash) made in 1996 .
he was a member of the board of short films at cnc in france from 1999 to 2001. balufu was a member of the input 2000 (international public television) in cape town, south africa and a member of creatv, unesco’s program for televisions in the south between 2000 and 2003 .
article 15 bis (1999) was awarded at the film festival of clermont - ferrand; namur and carthage. afro @ digital gained a jury mention at the zimbabwe international film festival .
dora bouchoucha has produced and co - produced numerous tunisian and foreign feature films, short films and documentaries with her company nomadis images, including the africa dreaming series by abderrahmen sissako, moufida tlatli’s la saison des hommes, baraket by jamila sahraoui, red satin, les secrets, a tunisian spring and foreign body by raja amari and inhebbek hedi (award for best first film and silver bear of best actor – berlinale 2016) by mohamed ben attia. all her films have been selected in venice, cannes and berlin film festivals .
dora bouchoucha created the carthage film festival workshop in 1992, takmil in 2014 and the scriptwriting development workshop sud ecriture in 1997. for more than ten years she was a member of the cinemart - rotterdam film festival’s expert committee and was a consultant for the venice film festival to select arab and african films from 2007 to 2011 .
she has been responsible for the pedagogical committee of several training programs for arab producers and screenwriters, including med film development (mfd) and med film factory (mff), funded by euromed audiovisuel .
in 2010, she chaired the fonds sud and in 2012, the aide aux cinémas du monde (cnc) .
she was director of the journées cinématographiques de carthage in 2008, 2010 and 2014. at cannes, in 2015, she was awarded the order of arts and letters by the french minister of culture .
in 2017, she was a member of the international jury of the berlinale .
jihan el tahri is an award winning director, writer, producer and visual artist. she is an egyptian and french national. in 1990 she began directing and producing documentaries for the bbc, pbs, arte and other international broadcasters. her most recent is “nasser” part of this year’s official selection at toronto international festival. she teaches documentary production at various international institutions. she served as treasurer of the guild of african filmmakers in the diaspora, regional secretary of the federation of pan african cinema, advisor on focus feature’s africa first program. she is also a mentor at the documentary campus .
with a history that spans several decades and includes the production of many award - winning films .
burkina' s contribution to african cinema started with the establishment of the film festival fespaco (festival panafricain du cinéma et de la télévision de ouagadougou), which was launched as a film week in 1969 and gained government support and permanent structures in 1972. it is the largest film exhibition venue in sub - saharan africa, with more than half a million attendants, and takes place in odd numbered years in march. burkina is also one of the countries producing the most feature films in africa. many of the nation' s filmmakers are known internationally and have won international prizes. for many years the headquarters of the federation of panafrican filmmakers (fepaci) was in
, rescued in 1983 from a period of moribund inactivity by the enthusiastic support and funding of president sankara (in 2006 the secretariat of fepaci moved to south africa but the headquarters of the organization is still in ouagaoudougou). between 1977 and 1987 burkina faso housed a regional film school, institut d' education cinématographique de ouagadougou (inafec), which was instigated by fepaci and funded in part by unesco, but eighty percent of its funding came from the government of burkina faso (no other african country participated in its funding and few sent students) .
in the late 1990s, local private production companies began to proliferate and digital production became increasingly prevalent. by 2002 over twenty - five small production companies existed in the country, many pooling their resources and expertise in order to produce. the best known directors from burkina faso are: mamadou djim kola ,
, kollo daniel sanou, paul zoumbara, emmanuel kalifa sanon, pierre s. yameogo ,
burkina also produces popular television series such as bobodjiouf. the internationally known filmmakers such as ouedraogo, kabore, yameogo, and kouyate make also popular television series .
many films shot in burkina faso by local directors have found distribution in francophone europe and several have received assistance from the french ministry of co - operation. however, while these films have won awards in europe and are regularly featured in african studies courses, in africa itself they are little known outside of academic circles .
burkina faso hosts the panafrican film and television festival of ouagadougou (fespaco) every two years in ouagadougou, burkina faso' s capital .
delwende (
get up and walk
) (2005), directed by s. pierre yameogo .
spaas, lieve ,
burkina faso ,
in the francophone film: a struggle for identity, pp. 232 - 246. manchester: manchester university press, 2000
turégano, teresa hoefert, african cinema and europe: close - up on burkina faso, florence: european press academic, 2005 .
mahir şaul and ralph austen, eds. viewing african cinema in the twenty - first century: art films and the nollywood video revolution, ohio university press, 2010, isbn 978 - 0 - 8214 - 1931 - 1
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film school is making me watch films that otherwise i wouldn' t know of it' s existence. this is the second african film they make me watch, and i have 0 knowleage of what kind of cinema they make there. i now want to explore it a lot more .
a fun epic adventure that has nothing to envy from a hollywood movie. it' s filmed in a surprisingly classical way, full of shot - reverse shot, narrations, flashbacks, and so ...
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
buud yam is a 1997 burkinabé historical drama film written and directed by gaston kaboré . it is the sequel to the film wend kuuni . as of 2001 , it was the most popular african film ever in burkina faso . 
buud yam is a 1997 burkinabé historical drama film written and directed by gaston kaboré. it is the sequel to the film wend kuuni. as of 2001, it was the most popular african film ever in burkina faso.
buud yam is a 1997 burkinabé historical drama film written and directed by gaston kaboré. it is the sequel to the film wend kuuni. as of 2001, it was the most popular african film ever in burkina faso.