widthWestern countries have been slow to use film to combat the legacy of modern colonialism-but perhaps the particularly intense decolonization in France means that the ripples in the country’s films are stronger than most films.After the invisible threat Michael Haneke’s Hidden, And sleepwalking in 2019 Zombie kid, This French post-colonial film is completely horrible along the way in this original but powerful movie suburbs-Movies that draw inspiration from the same inspiration Candy man And Moroccan fireside folklore.
Put “black and white“(Black-White-North Africa) La Haine’s setting, the protagonists are Amélie (Mathilde Lamusse), Bintou (Suzy Bemba) and Morjana (Samarcande Saadi)-three young graffiti artists who live in a Parisian manor and gather on high places. Abandoned cube smoking equipment, dancing to traps and marking walls. After Amélie escaped the rape attempt by her ex, she drew a five-pointed star with her own blood on the bathroom tiles and summoned the demon Aisha Kandisha Mythological characters from Morocco The trio found his name in the tower.
This banshee was first seen lurking in an all-black burqa and fringed headgear, implementing a male-only revenge policy. But beyond this requirement, she seemed a little indiscriminate; to the horror of the girls, Aisha Kandisha was willing to vent to any man around them. The untimely predecessor was the first to be on the chopping block, but her modus operandi was not clarified by the first few deaths. Directors Alexander Bustillo and Julian Mori performed quite suddenly and casually. Apart from rape, the preamble also fails to establish misogyny as a daily enough to make Candisha attract the attention of true feminist chords.
But when Bustillo and Morrie wandered through the housing project under the gloomy sky and disorienting tilt, the undercurrent of colonialism began to sing. The clue is there: In life, Aisha Candisha is clearly a Moroccan aristocrat who resisted Portuguese occupation. As the consequences of the white girl Amélie approached, the surprisingly strong racial hatred in most early jokes began to look like a festering wound we should notice. The last paragraph-including exorcism in the apartment lined by the Imam’s spell (interior design goal!)-is very effective. At this time, Aisha Candissa was already a towering succubus; post-colonial theory stepped on a pair of terrible goat hooves.
