DAY 25: DAKAN (DESTINY) (Muhammad Camara, Guinea/France, 1997)
Heralded as the first West African film to deal explicitly with the topic of homosexuality, whatever its actual quality Muhammad Camara’s debut automatically has an assured spot in the queer canon and film history in general. And while most reviews I’ve come across do tend to shrug it off as “important, but unexceptional” I thought that the familiar-seeming doomed romance premise had a tendency to keep wandering off into interesting, unexpected directions. The film boldly signals its intentions in the first scene with two men passionately exchanging kisses in a car—how many contemporary “out and proud” American films would dare do the same without first carefully priming its audience?—indeed, Dakan is actually a very “out” film in general, dispensing with most of the usual sexual coming-of-age tropes and within minutes we’re watching the two young men directly confronting their respective parents regarding their feelings for each other and intentions of going off to start their life together. As expected this does not at all go over well, and so the inevitable series of complications begin, and the parents plot to separate the men, calling into question both their loyalty to each other and as well as their understanding of themselves and who they are. One of their mother consults a local witch doctor for a “cure” and is willing to undergo anything necessary, while the other’s father, an ambitious local merchant, simply packs his son off to a faraway university.
From there things get interesting, as the film seems less interested in embarking on a specific story than observing series of events unfold, and the narrative grows increasingly elliptical and diffuse in favor of evoking sensations both emotional and physical in nature. Longtime actor—and, interestingly, heterosexual family man— Camara aligns himself with the kind of “tactile” cinema most closely identified with Claire Denis, exhibiting a sophisticated attunement to mood and nocturnal environments, with emphasis often placed on the surfaces of things and skin in particular. And then suddenly Cécile Bois, a spunky, charismatic young white woman bounces into the film and everything seems to pivot toward another direction entirely; in truth, despite the film ostensibly being about the two men they never become a whole lot more than sympathetic ciphers, and it is the female characters which are much more vividly rendered. Despite its relatively intimate scale, ultimately Dakan becomes a much more expansive consideration of how the men’s relationship affects a much larger web of family, friendship, and community. As far as I’m concerned a complicated if quiet little film lurks beneath the conferred mantle of Great Historical Importance.
[Watching Dakan on Fandor here.]