My review was written in April 1993 after a Lincoln Center screening in Manhattan.
"Toubab Bi" (an untranslatable title) is a very entertaining fish out of water story that marks the arrival of a talented new director from Dakar, Moussa Toure. It's worth a look-see for American distribution.
One of the most accessible films in the Lincoln Center African cinema series, "Toubab Bi" has entry points to fans of French cinema as well, recalling the well-made (though never released domestically) "Black mic-mac" in giving a glimpse of the African subculture of Paris.
Handsome Oumar Dio9p Makena toplines as Soriba Samb, an aspiring filmmaker who's headed to Paris from Dakar for an internship. At the airport he's saddled with a 5-year-old boy, a distant relative, whose dd Issa split for Paris seven years ago.
Flashbacks reveal that Soriba and Issa grew up together, so o9ur hero becomes obsessed with finding his old pal. In the meantime, director Moure (who himself apprenticed in France with Bertrand Tavernier and Francois Truffaut) with a light comic touch details Soriba's encounter with an assortment of quirky Parisians. Throughout, the director is even-handed in his avoidance of stereotypes and his sympathetic treatment of both African and French characters.
He finally discovers Issa successful as a pimp and vendor of porno videos and magazines Undeterred, Soriba works to fulfill his promise to Issa's mom and tribal spells (including animal sacrifice) are conjured to aid the process of getting Issa to return.
Apart from one confusing scene when Soriba sends the boy away (he is literally written out of the picture), the story is consistently interesting and well-acted. Lead thesp Makena with his excessive politeness and warm manner is a genuine find. French leading lady Helene Laplower, with whom he has an interracial romance, is affecting and natural as well.
Film is differentiated from Western efforts in this genre by its emphasis on superstition, leading to a clever nding that makes the mystical content ambiguous. Technical credits are first-class, especially Alain Choquart's photography.
