The best three minutes of anything you will ever watch.

Thank you Dana Jame Jones for cutting the three The Force Awakens trailers together and thank you to the internet for alerting me to this trailers existence.

The Hero’s Journey in Ceddo (Senegal, 1977)

           Western Africa and more specifically Nigeria is the third largest film producing country behind India and The United States. Despite the multi faceted obstacles of colonialism and neocolonialism West African Cinema particularly in the nineteen seventies became a force in the cinematic world demanding analysis. The Senegalese writer director Ousmane Sembene is a luminary in the world of African cinema. His fifth feature Ceddo (Senegal, 1977) is a historical fiction/ folk tale taking place in an unspecified time but most likely somewhere between the seventeenth and eighteenth centuries. In his straight forward story Mr. Sembene is able to comment on religion, colonialism, and gender. Despite Ceddo (Senegal, 1977) discussing many African ideas and themes these ideas and themes are not unique to the African experience and resonate with any audience.

          The echoes of culturally universal stories and myths can be seen around the globe. Similar themes and plot elements in myths and folk lore can be seen in peoples and cultures around the world. The hero’s journey is a story that ancient mankind told each other even before the advent of the written word and continues to tell in the present day. In Ceddo (Senegal, 1977) the protagonist the Princess Dior played by Tabata Ndiaye returns to claim her birth rite and restore order and justice to the kingdom. We see similarities with Ceddo (Senegal, 1977) in Tolkien’s third volume of The Lord of The Rings; The Return of The King, The Lion King (1994), and the Arthurian legend to name a few. The Arthurian legend makes a particularly interesting comparison because Arthur sitting upon the throne and his well being is directly linked to justice and the land flourishing.

          On the simplest level the hero’s journey can be broken into three stages separation, decent or initiation, and the return. Despite the return being the epic climax to Ceddo (Senegal, 1977) all three stages are evident in the narrative of the film. The first stage is separation. This stage has the hero leave the comfort and familiarity of their home and enter a strange new world. In Ceddo (Senegal, 1977) this stage is a large portion of the narrative. The Princess Dior is kidnapped early in the film by a warrior demanding justice from the king. This fulfils the separation stage of the hero’s journey.

          The second stage of the hero’s journey is decent or initiation. In this part of the story the hero will gain knowledge or ability that will aid him on his quest. It may even be an item like the Holy Grail. The main point is that the hero now has something that they didn’t have prior to their departure that they can use to help their community when they inevitably return. In Ceddo (Senegal, 1977) Princess Dior doesn’t learn a specific skill nor gain special abilities. She does not obtain a magical or enchanted item. In true The Wizard of Oz (1939) fashion the power was within Princess Dior all along. What Princess Dior gained during her initiation was knowledge of self. She realized that she must assert herself and she cannot wait on a man to aid her. Her initiation is coming to the understanding that she must take her birth right because it will not be relinquished to her willingly.

          The third stage in the hero’s journey is the return. This stage is the part of the story where the hero returns with his newfound knowledge or ability to aid he community. An example in western cinema of this stage is Luke Skywalker linking up with the rebels before their assault on the Death Star and using the force during the trench run in Star Wars (1977). In Ceddo (Senegal, 1977) Princess Dior’s return is the climax of the film. After several men die fighting over the custody of Princess Dior and the eventual death of her captor Princess Dior returns to her village armed with a rifle and knowledge of self. The ineptitude of the men around her including her father the king shows Princess Dior that her kingdom needs her. Princess Dior’s growth comes when she realizes she must assert her will to claim her birthright and bring justice to the kingdom.

          Sembene links the matriarchy with justice in Ceddo (Senegal, 1977). When Islam comes to the village and a patriarchal system is imposed the rule of justice begins to break down and long held traditions are spurned. In the narrative when Islam begins to take hold in the kingdom conspiracy grows in the king’s court. The conspiracy and intrigue of men eventually lead to the downfall of the king. If tradition was respected Princess Dior would know rule but because of the patriarchal rules imposed an unscrupulous religious teacher takes the throne. When Princess Dior returns to the village to claim her father’s throne as her rightful seat she brings back both justice and the matriarchy to the kingdom. 

Ex Machina (Alex Garland, 2015) review

           Alex Garland’s directorial debut Ex Machina (2015) was released mid July on DVD and Blu-Ray. Mr. Garland wrote the screenplays for the lauded 28 Days Later (2002) and the underrated/underappreciated Dredd (2012). Alex Garland did not disappoint with his genre driven directorial debut. Ex Machina (2015) is both gorgeous and thought provoking.
          Mr. Garland’s debut film treads in the footsteps of sci-fi classics like Solaris (1972), Blade Runner (1982), and Ghost in the Shell (1995). Besides convincing world building these films share the existential question of, what does it mean to be alive/human? As the digital age continues to progress art that asks this question are more pertinent than ever.

          Hard science fiction is different from space opera or melodrama. 2001: A Space Odyssey (1968), Star Trek (2009), and Star Wars (1977) are different genres and or sub-genres. Despite the rise in popularity of “geek” culture hard science fiction has not enjoyed the same renaissance as genres like fantasy, super heroes, and space opera. Ex Machina (2015) bucks that recent trend along with films like Christopher Nolan’s Interstellar (2014) showing the financial viability of hard science fiction movies.

          Alex Garland utilized a small cast and shot on the same few interiors and exteriors. In some ways Ex Machina (2015) is a small independent film with one extraordinary multimillion dollar visual effect.  The juxtaposition of the cold modern interiors to the lush natural exteriors is stark and noteworthy. The stunning exteriors depiction of nature with lush green colors and running water made me wonder if Garland was invoking the sci-fi classic Solaris (1972)?

          Oscar Isaacs gives another great performance following strong work in Inside Llewyn Davis (2013) and A Most Violent Year (2014). Domhnall Gleeson one of the Weasley brothers in the Harry Potter film series and a revelation in Frank (2014) is dynamic starring opposite Isaacs in Ex Machina (2015). Both Alicia Vikander (Ava) & Sonoya Mizuno (Kyoko) have a background in dance that is evident in the impressive physicality in the two actress’s performances. Alicia Vikander’s Ava gives Sean Young’s Rachel a run for her money as the greatest cinematic female android.

          Ex Machina (2015) is the promise of modern day digital filmmaking’s use in the science fiction genre. Meticulous set and costume design are seamlessly merged with stunning digital effects to create a gorgeous film. Ex Machina (2015) is not just eye candy. It features strong performances and a thought provoking plot that’s a strong directorial debut from writer director Alex Garland. 

 

 4 out of 5 Nexus-6 Replicants 
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