Abderrahmane Sissako sets his late father’s backyard as a courtroom for the injustices of economic neocolonialism in his 2006 drama Bamako, our second of three forays into the work of the Malian/Mauritanian master director. In a work that inextricably binds the political and the personal, Wilson notes how Sissako creates a sense of place that makes an intellectual argument emotional and Eli suggests that the movie can be viewed as a testimonial. Meanwhile, Ben asks if a fiction narrative is the most cogent mode for Sissako’s argument.
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