A political drama
- Written by Abderrahmane Sissako and Kessen Tall
- Directed by Abderrahmane Sissako
At first glance, life in the fabled city and the surrounding prairie seem to have changed little over the centuries. But there are changes far more unsettling than the ubiquity of cellphones. An armed group of Muslim fundamentalists have taken over the area. Music, smoking, soccer and women with bare hands are now forbidden.
Abderrahmane Sissako’s remarkable film sometimes feels like one of those Altman movies about intertwining lives. We meet the gentle and forgiving imam who tries to tame the fanatics, the fishmonger who refuses to wear gloves while selling her fish, the young people unwilling to give up music, and the Islamist official who secretly smokes.
But mostly, we get to know the cow herder Kidane and his family. They live in a tent outside of town, they don’t have much money, but their lives are rich in love. Not that they’re living in the past. A prized cow is affectionately named GPS (I suspect that the 12-year-old daughter had something to do about that). Kidane will face horrible consequences before the film is over.
At least his tragedy is, to a large extent, self-inflicted. Everyone else is inflicted by the new, fanatical rulers of Timbuktu. And yet, at least at the beginning, even they don’t come off the way we westerners imagine such people. Yes, they’re walking around with big guns and creating ever-more restrictive rules. But they act calm and friendly, and they seem reluctant to enforce the new rules. In other words, their fanaticism hasn’t completely destroyed their humanity.
Sissako and film editor Nadia Ben Rachid give Timbuktu a slow and stately pace. People think before they act. Much of the dialog is through interpreters (not everyone speaks the same language), so much of the dialog has to be said twice. The camera often lingers on an image. And yet, not for second did the film bore me.
The slow pace also enhances the strange, off-beat humor. In one remarkable scene, a group of teenage boys in a field play soccer with an imaginary ball. When some Islamists drive into and around the field, the boys quickly switch the calisthenics. Once the men with guns disappear, the imaginary game restarts.
As the film progresses, the fanatics become less of a joke and more of a mortal threat. People get whipped for infractions. An Islamist takes an unwilling bride over the objections of the young woman’s mother. A couple are buried up to their necks and stoned to death.
Timbuktu’s overall sense of tragedy and helplessness sneaks upon you slowly. I suspect that’s how it happens in real life.