La nuit des rois

Written and directed by Philippe Lecote, Night of the Kings was screened outdoors at the Hollywood Legion Drive-in Cinema and the soft and cool breeze present throughout the film laid down an atmospheric ambiance that no indoor theatre could match. Blazing cinematography with vibrant red, orange, and yellow hues from cinematographerTobie-Marier Robitaille rivaled Roger Deakins Academy-award winning work from BladeRunner 2049.

Night of the Kings turned out to be a special Friday Night at the drive-in. In addition to the exceptional cinematography, epic (literally and figuratively) production design the stalwart performances, and the classic narrative combined with the writing and seemingly spontaneous choreography send this feature film into the stratosphere. Highly recommended!

Combining african realism with magic. The wild prison of Abidjan become the scene to explore both the country's turbulent present and social conditions through rite and music. A very different 'prison movie' that shows that young african cinema draw its way not by imitating but by creating new species, adapted to its specialities. Acting is superbe - Denis lavant holds a very distinctive role, underlying his peculiarity as a unique performer - and the director manages genuisly the scenes where the lot of prisoners act as a chorus in ancient tragedy. The living music tradition of western Africa palys too an important role. Surprisingly astonishing!!!!

Greetings again from the darkness. Could you tell a story that lasts all night? What if you were standing on a box in front of a few hundred rowdy inmates? What if your life depended on it? Writer-director Phillippe Lacote (RUN, 2015) opens the film with an aerial shot over the jungles of the Ivory Coast and slowly makes way to the isolated prison known as La MACA.

The camera takes us to the bed of a police pickup truck where a handcuffed young man is being escorted by an armed guard. It's the first day of his prison sentence. La MACA has a warden and prison guards, but even they admit the place is mostly run by the inmates. The warden (Issaka Sawadogo) meets with the new prisoner (newcomer Bakary Kone), but it's Blackbeard (Steve Tientcheu) who summons the newbie to his cell. Blackbird has been the Dangaro, Chief of Prisoners, for years, and only recently has his hulking presence led to chatter of diminishing losing power. With his fatigue requiring regular intake from oxygen tanks, Blackbird realizes his reign is near ... and tradition requires that, once too weak to lead, he take his own life.

Blackbird names the wide-eyed new prisoner Roman, meaning he will be the storyteller at that evening's Red Moon. Blackbeard has this planned as his final hurrah as leader. Two prisoners are vying to become the new Dangaro: Blackbeard's loyal assistant Half-Mad (Jean Cyrille Digbeau) and rival faction leader Lass (Abdoul Karim Konate). They each have their eye on wearing the "crown".

If all this sounds a bit convoluted, you should know it's fascinating to watch unfold on the screen. The rules and rituals are followed vigorously, and just like in any political situation, behind-the-scenes maneuverings are ongoing. We never lose sight of the fact that there are hundreds of criminals gathered in a confined area, yet the structure of their organization lends itself to Roman's storytelling.

As a member of the Microbes gang in the Lawless Quarter of Abidjan, Roman doesn't consider himself a storyteller, and is reluctant to begin. Urged on by the aggressive reactions of his audience, he's soon weaving tales blending his childhood, the recent arrest of local legend Zama King, and the mythology and history of the Ivory Coast. Stunning flashbacks and visuals are utilized in just the right dosage to help us understand the stories without losing the danger Roman faces. What danger, you ask? Well a fellow prisoner named Silence (played by Denis Lavant, from 2012 cult favorite HOLY MOTORS), who keeps a chicken perched on his shoulder, warns Roman that his story must last through the night until the Red Moon sets on the horizon ... or the ritual demands he be killed. Talk about motivation - as if the metal hook in the stairwell wasn't enough!

Filmmaker Lacote excels with his 'story within a story' and the blending of truth and fiction. The fed-up guards watching through the small window in their protected office says more than words could. And cinematographer Tobie Marier Robitaille works wonders within the claustrophobic confines of the prison, and by capturing the emotions of the participants. This is an original film that could be equally effective as a stage production, as both vehicles can convey the glory of the moment morning breaks. Let's hope this isn't "once upon a time" for Lacote, and that he has more to offer at this level. Available February 26, 2021 in select theatres and Virtual Cinemas

Let's just put aside that this is one of the most beautifully shot films I've seen in a very long time, and that the locale and prison sets were breathtaking and so authentic, you felt like you were there. Why take a boring nonsense lame story and waste it on such beautiful visuals?

Even the no-name casting and performances were excellent, and clearly writer and director Philippe Lacôte knew how to direct his cast and his scenes perfectly. But such a dumb story. Did all these raving reviews from top critics see the same film I did?

The story was riddled with plot holes, was illogical, full of nonsense, and just dragged out a story-less story about storytelling for a normally pleasant 93 min that felt never ending. And the pacing was actually adequate.

All I know is that if I had those exact same resources available to me, I would've hired a 5th grade drama class student to write a better script for me.

I'm still giving it a generous 6/10 all going to the stunning visuals.

For once , the trade paper reviews were actually accurate, it is so different from what 'we' are used to watching. And I was totally engaged from the very first moments of the film until the end and for me it was a movie that stays with you and you come to understand some of the deeper aspects of the film after you have watched it. The movie has completely different 'sensibilities' than Hollywood fare, it is most decidedly 1) African and 2) by a foreign (French) director. The best I can tell anyone reading this review is that I was so glad I watched it and enjoyed every last minute of it.