Movies have always thrived on the power of nostalgia, of viewers placing themselves in a historical context and seeing that self represented on screen — and this is just some of what Guinean filmma…
.” Ostensibly the story of a quest to find a lost film — “Mouramani,” made in 1953 by Diallo’s compatriot Mamadou Touré — this documentary becomes both a playful meditation on why films matter and a rather sober examination of how history can be lost when not preserved. Diallo’s command of the thin line between absurdity and profundity makes it both an entertaining and contemplative watch.
Driven by a love of both cinema and his country’s history, Diallo sets out on a quest to find the film, or at least someone who has seen it. As he travels through Guinea, following in the footsteps of Touré, he attempts to prove the validity of his profession and to pay homage to those who came before him.
When Diallo visits villages, filming people whose only connection to the medium is as audience members, the film reveals how cinema enthrals as a communal event. Furthermore, when he shows these villagers the footage of themselves, he makes a salient point about representation: Faces lit up, they yell and laugh with joy from recognizing themselves as a flickering image on a big screen.
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