Bamako brings relief from the latest round of Africa chic in the media, reversing "the flood of information that flows one way." It colors the Africa Problem from the inside out.
What are people saying?
What are critics saying?
The New York Times by A.O. Scott
Bamako is something different: a work of cool intelligence and profound anger, a long, dense, argument that is also a haunting visual poem.
A barrel of laughs, this ain't. But it's a fearless high-wire act, grim and witty, confrontational and self-mocking. Its message may be dire, but Bamako is a feat of intellectual and cinematic daring that will leave your brain buzzing.
Far from an easy watch, either in terms of its hard-hitting content, seemingly haphazard structuring or its dense symbolism. But this makes sense of the political intricacies by balancing the rhetoric and statistics with everyday occurrences that give the iniquities and inadequacies a human face.
Rather miraculously, picture succeeds in painlessly educating its viewers about global politics and economics while it describes contemporary Africa with freshness and clarity.
New York Daily News by Elizabeth Weitzman
Heated speeches about the International Monetary Fund, debt relief and global responsibility may not sound like your idea of Friday-night entertainment, but Sissako makes a strong case.
Entertainment Weekly by Lisa Schwarzbaum
The serious accusations are leavened by the moments of brimming, illogical, intimate neighborly dailiness the filmmaker also captures with warmth and infectious high spirits.
The film feels oddly slack and inert, livened only by testimony better suited to another forum.
Credit Sissako for entertainingly blending serious international issues with the daily comings and goings of village life. A bit more Glover wouldn't have hurt - but you can't have everything.
As demonstrated in his previous film, a plangent snapshot of subsistence called "Waiting for Happiness," Sissako is a poet, and the filmmaking in this new picture is stuff of a deserving laureate.