{"id":51703,"date":"2022-01-05T12:38:37","date_gmt":"2022-01-05T10:38:37","guid":{"rendered":"https:\/\/dev.ife.ee\/?p=51703"},"modified":"2022-01-20T11:20:38","modified_gmt":"2022-01-20T09:20:38","slug":"aafrika-filmiklassika-erilinastused-kino-soprus-prantsuse-instituut","status":"publish","type":"post","link":"https:\/\/dev.ife.ee\/et\/aafrika-filmiklassika-erilinastused-kino-soprus-prantsuse-instituut\/","title":{"rendered":"Aafrika filmiklassika erilinastused | Kino S\u00f5prus x Prantsuse Instituut"},"content":{"rendered":"

Jaanuaris toovad Prantsuse Instituut ja Kino S\u00f5prus esimest korda eesti publikuni valiku Aafrika kinoklassika p\u00e4rlitest! Aafrika fookusega eriprogrammi “P\u00fcha S\u00f5prus” avab 16. jaanuaril Senegali kultusfilm “Touki-Bouki”, mida peetakse ka \u00fcheks esimeseks Aafrika avangardfilmiks. 23. jaanuaril linastuvad kolm 1960ndate l\u00fchifilmi Nigerist ja C\u00f4te d’Ivoire’ist: “Cabascabo”, “Seikleja tagasitulek” ja “\u00dcksilduse d\u00fc\u00fcnil”. L\u00f5ppakordi annab 30. jaanuaril Uganda m\u00e4rul “Kes tappis kapten Alexi?”. Piletid on peagi saadaval S\u00f5pruse<\/a> kodulehel.<\/span><\/strong><\/p>\n

 <\/p>\n

P, 16.01.2022 “Touki-Bouki”<\/h4>\n

Senegal, 1973
\nRe\u017eiss\u00f6\u00f6r: <\/span>Djibril Diop Mamb\u00e9ty
\nKeel: <\/span>wolof, prantsuse
\nSubtiitrid: inglise
\n1h 35min<\/p>\n

Senegali kultusfilmi \u201cTouki-Bouki\u201d peetakse \u00fcheks esimeseks Aafrika avangardfilmiks ja selle re\u017eis\u00f6\u00f6ri Djibril Diop Mamb\u00e9tyd<\/strong> on v\u00f5rreldud Jean-Luc Godard’iga. 1973. aastaks, mil \u201cTouki-Bouki\u201d v\u00e4lja tuli, oli Aafrika riikides tehtud umbes 15 filmi, mis k\u00e4sitlesid teemadena enamjaolt koloniaalminevikku, vabadusliikumisi, kultuurilist assimilatsiooni v\u00f5i \u00e4sja iseseisvunud riikide probleeme. Mamb\u00e9ty k\u00e4ekiri erines sellest m\u00f5nev\u00f5rra, tegeledes sotsiaalpoliitiliste teemadega vabamal ja poeetilisemal viisil. Re\u017eiss\u00f6\u00f6r \u00f6elnud: \u201cMind huvitavad marginaliseeritud inimesed, sest usun, et nad teevad kogukonna arenguks rohkem kui konformistid. Marginaliseeritud inimesed loovad sideme kogukonna ja laiema maailma vahel. \u201cTouki-Bouki\u201d tegelased huvitavad mind, sest nende unistused pole tavaliste inimeste omad. Anta ja Mory ei unista losside ehitamisest Aafrikas, vaid mingisuguse kauge, meredetaguse Atlantise leidmisest. \/—\/ Mory ja Anta unistused panid neid end tundma v\u00f5\u00f5rastena omal maal.\u201d Kinopublik satub Dakari t\u00e4navail seiklema koos noore armastajapaariga, kelle unistus on iga hinna eest Pariisi p\u00e4\u00e4seda. Prohvetlik film, mis pole 1973. aasta Senegali \u00fchiskonda portreteerides kaugel t\u00e4nap\u00e4eva reaalsusest.<\/p>\n

Noor karjane Mory, kes on tulnud Dakari oma loomi tapamajadele m\u00fc\u00fcma, kohtub seal revolutsion\u00e4\u00e4rist tudengineiu Antaga. M\u00f5lemad proovivad iga hinna eest Pariisi s\u00f5iduks raha kokku saada. P\u00e4rast mitmeid seiklusi ja vahejuhtumeid avanebki neil v\u00f5imalus Prantsusmaale suunduvale laevale astuda. Viimasel hetkel keeldub aga Mory p\u00f5genemisest j\u00e4rjekordsesse miraa\u017ei.<\/p>\n

PILETID<\/strong><\/a><\/p>\n

\"Aafrika<\/p>\n

 <\/p>\n

P, 23.01.2022 Valik l\u00fchifilme<\/h4>\n

“Cabascabo”<\/h4>\n

Niger, 1969
\nRe\u017eiss\u00f6\u00f6r: Oumarou Ganda
\n<\/span>Keel: prantsuse, zarma
\nSubtiitrid: inglise
\n45 min<\/p>\n

Aafrika laskur, kes saadeti prantsuse ekspeditsioonikorpusega Indohiinasse, naaseb demobilisatsiooni korras ja rikkaks saanuna Nigerisse. Inimesed otsivad tema seltskonda, teda kummardatakse. Olles aga liiga helde, laseb ta raha ruttu tuulde ning avastab end peagi s\u00f5pradest h\u00fcljatuna. \u201cCabascabo\u201d on re\u017eiss\u00f6\u00f6ri Oumarou Ganda vastus Jean Rouchi filmile \u201cMoi, un noir\u201d \/ \u201cI, a negro\u201d, kus Ganda m\u00e4ngis iseennast, Senegali k\u00fctti Indohiina s\u00f5jas.<\/p>\n

\"Aafrika<\/p>\n

 <\/p>\n

“Seikleja tagasitulek” \/ Le retour d’un aventurier<\/em><\/h4>\n

Niger, 1966
\nRe\u017eiss\u00f6\u00f6r: Moustapha Alassane
\n<\/span>Keel: prantsuse
\nSubtiitrid: inglise
\n34 min<\/p>\n

Jimmy saabub tagasi Ameerika-reisilt Nigeri koduk\u00fclasse. Kingitusena toob ta s\u00f5pradele kaasa Metsiku L\u00e4\u00e4ne kauboide kost\u00fc\u00fcmid. Ameeriklaste moodi riides, pole nende nimed enam Kali, Ibrahim v\u00f5i Boubakar, vaid Black Cooper, James Kelly ja Kuninganna Christine. Kujutades ette, milline \u00fcks t\u00f5eline kauboide bande olema peaks, hakkavad nad r\u00fc\u00fcstama oma kodukanti, kutsudes esile k\u00fclaelanike meelepaha.<\/p>\n

\"Aafrika<\/p>\n

 <\/p>\n

“\u00dcksilduse d\u00fc\u00fcnil” \/ Sur la dune de la solitude<\/em><\/h4>\n

C\u00f4te d’Ivoire, 1964
\nRe\u017eiss\u00f6\u00f6r: Timit\u00e9 Bassori
\n<\/span>Keel: prantsuse
\nSubtiitrid: inglise
\n32 min<\/p>\n

Film p\u00f5hineb legendil, mille j\u00e4rgi v\u00f5rgutab veejumalanna Mamy Watta inimolendeid. \u00dchel \u00f5htul kohtuvad laguuni kaldal kaks noort. Nad saavad tuttavaks ja veedavad \u00f6\u00f6 koos. Hommikul on naine aga kadunud. Kurioossel kombel n\u00e4eb mees tema n\u00e4gu veidi hiljem uuesti\u2026 surivoodil.<\/p>\n

\"Aafrika<\/p>\n

PILETID<\/a><\/strong><\/p>\n

 <\/p>\n

\"Institut<\/p>\n","protected":false},"excerpt":{"rendered":"

Jaanuaris toovad Prantsuse Instituut ja Kino S\u00f5prus esimest korda eesti publikuni valiku Aafrika kinoklassika p\u00e4rlitest! Aafrika fookusega eriprogrammi “P\u00fcha S\u00f5prus” […]<\/p>\n","protected":false},"author":170,"featured_media":51717,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[111],"tags":[2246,2451,2453,1334,2456,726,2452,2455,2454],"class_list":["post-51703","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ueritused","tag-aafrika-filmide-eriprogramm","tag-aafrika-filmiklassika","tag-cabascabo","tag-kino-soprus","tag-le-retour-dun-aventurier","tag-prantsuse-instituut","tag-pueha-soprus","tag-sur-la-dune-de-la-solitude","tag-touki-bouki"],"_links":{"self":[{"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/posts\/51703","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/users\/170"}],"replies":[{"embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/comments?post=51703"}],"version-history":[{"count":0,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/posts\/51703\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/media\/51717"}],"wp:attachment":[{"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/media?parent=51703"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/categories?post=51703"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dev.ife.ee\/et\/wp-json\/wp\/v2\/tags?post=51703"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}