YAABA/The Grandmother (1989, Burkina Faso, 90 min.), directed by Idrissa Ouédraogo; screenplay by Ouédraogo; cinematography by Matthias Kälin; music by Francis Bebey; edited by Loredana Cristelli; with Fatimata Sanga (Sana, AKA Yaaba, the Grandmother), Moufou Ouedraogo (Bila), Roukietou Barry (Nopoko), Adama Ouédraogo (Kougri, Bila's father), Amadé Toure (Tibo, Nopoko's father), Sibidou Ouédraogo (Poko, Bila's mother), Rasmane Ouédraogo (Noaga, the drunkard), Assita Ouédraogo (Koudi, his wife), Adame Sidibe (Razougou, her lover), Kinda Moumouni (Finse, the neighbor), Zenabou Ouédraogo (Pegda, the angry wife), Ousmane Sawadogo (Taryam, the wise healer). In Moré with English subtitles.

Jot down responses to each of the following. Do detailed responses to 3.

1. Why do you think the film is titled as it is? Is it because Sana (Yaaba, or Grandmother) is the main character of the film? Or is there another reason?

2. The first scene of the film takes place in a cemetery, where Nopoko is visiting the grave of her late mother (Bila's aunt, Tibo's wife). Why does the film open with this scene? What is established here?

3. How would you describe the natural setting of this film's world? Describe the ecology of Yaaba.

4. The film then moves us into the village. Discuss the status quo of village life at the beginning of the film. Describe the village and its people.

5. What are the events that will disrupt that status quo and bring conflict to the surface? Discuss them.

6. How are these various disruptions eventually resolved in the final "act" of the film?

7. Discuss the relationship between the two cousins, Bila and Nopoko. How does it evolve over the course of the film?

8. Now, discuss them as individuals. How are they similar? How different?

9. To what extent could we call Yaaba a "rite of passage" film for these children? To what extent do they grow and move closer to adulthood over the course of the film?

10. Discuss the relationship between Bila and Yaaba as it develops. Give some examples of their interaction.

11. A recurring element in Ouédraogo's films is generational conflict. How is that theme used here? What is the director saying about adults and children here?

12. Discuss the character of Noaga, the drunkard. Would you call him a complex character? Do your feelings about him change over the course of the film? Why?

13. We have very little music in this film. When is it used, and to what effect?

14. You'll notice that the film has many scenes which are shot in long shot or even extreme long shot. Yet there are also many scenes in close-up. What do you think of the director's shot selection? Why does he choose close-up, why long shot? Do you see a pattern?

15. There's really no way we can determine the film's historical setting, is there? What gives it this timeless feel? What is the film saying about tradition? Is it a nostalgic glorification of tradition? Or is something more complicated going on?

16. You'll notice that the film ends exactly as it began, with Bila chasing Nopoko from foreground to background. Yet a lot has changed over the course of the film, right? What has changed?

17. This film is very, very African--in its style and in its subject matter. Yet it is also very humanistic in the largest sense. What are some of the ways in which the film can speak to anyone, anywhere?

Return to ENG 197 PAGE.