Katanga: La Danse des Scorpions
Dani Kouyaté
2024, 113 mins.
A decidedly darker take on Shakespeare’s masterpiece
Having attended/reviewed many productions of Macbeth over the years (cross-reference below), it was with great anticipation that I watched Kouyaté’s interpretation from a decidedly African (a native of Bobo-Dioulasso, Burkina Fasso) point of view. With no high seas in his landlocked country, the rise, fall and sweep of the timeless tale of power at any cost was, nonetheless, felt in every frame.
In the title role, Mahamadi Nana manages a fine transformation from obedient courtier (urged on by his forever scheming wife, Hafissata Coulibaly—just conniving enough to be a convincing Pougnré) to “take the throne while his iron is hot” before descending into a fine madness once the proverbial forest truly invades his space. Sadly, happily in a way, the acting is much better than the props as the branch and leaf covered soldiers would seem more at home on Sesame Street than in this tale of unfettered ambition ruining the lives of many. (Thanks goodness that can no longer happen in 2025!).
The script follows Shakespeare’s in many aspects, notably the idea that “It is necessary to create culprits” after the king Pazuknaam (Prosper Compaore, appropriately regal and damned) is killed by the opportunistic, power-hungry Kantanga.
Shot in glorious black and white, the production is at one with the overall dark mood. Katanga’s “interview” with the soothsaying, bearded witch, gives the murderous sovereign hope that “No man born to a woman can harm you”—eerily similar to a present-day king wanabe that immunity for any act of his office knows no bounds, much less accountability. Or as allies Gandaogo (Issa Ouédraogo) and Prince Raogo (Dramane Ouédraogo) believe, “force is effective when it is justified” (but only when they are the deciders, of course).
Kouyaté has done a fine job keeping the production moving and instilling the various, required, layers of tension. The only visual caution being the foretold appearance of the trees marching into Katanga’s short-lived world, looking more cartoonish than truly like camouflage.
A viewing is recommended, giving one and all more food for thought about the scorpions currently infesting our planet with equally deadly effect. JWR
A Tree Fell in the Woods
Nora Kirkpatrick
2025, 95 mins.
Moonshine-sunrise lovers
Here is an interesting take on the old adage, “If a tree falls in the forest, does it make a sound?”
Imagine it’s almost New Year’s Eve, and two couples—best of friends for years—rent a cabin in the woods to celebrate with great food, lots of wine and an early morning hike. Imagine only two of the quartet of longstanding forest devotees opt to take the trek into the brush—man and woman—while their respective lovers sleep in. Imagine spotting a solitary deer, oblivious to the world, before a huge evergreen topples to the ground, barely missing the nature-loving friends, but—understandably shaken up—returning to the cabin sooner than expected. Then imagine seeing the hikers’ respective partners, naked as the day they were born, finding conjugal bliss in front of the large picture window, fully visible for all who care to see even as the adulterous couple have no idea their unexpected lust will be “just between us” no more.
And so begins a tale of the four best buds working through all manner of betrayal, anger, astonishment, possible reconciliation, bootleg booze, copious confessions, a veritable communal dance of the hours, return to the scene of the fuel-to-witness-the-crime and a sunrise that marvellously brings in a new year and new circumstances for all concerned. All the while a heavy snowstorm prevents anyone from prematurely leaving in a huff.
It's the stuff of a dramatic romcom from the ever-inventive mind of director-writer Kirkpatrick.
Couple number 1 seem to enjoy a good argument (over turmeric, no less). Melanie (demur Ashley Park) loves to cook and has, apparently, written a book to demonstrate her culinary prowess. Bristly faced, generously formed Mitch (flamboyant Josh Gad) seems to enjoy the banter but probably loves slurping down another shot of anything more.
Couple number 2 appear to be a tad more distant. Debs (readily in-search-of-self Alexandra Daddario), enjoys masking her nicotine addiction with comely blue gloves (really, you can’t make this up!), while partner Josh (in both literal and physical fine form is Daveed Diggs), prefers to sleep in the nude and has no qualms about escorting his morning riser down the hall to the loo—even if “unexpectedly surveyed by another… Not coincidentally, Debs is also a writer but suffers from approval phobia, unwilling to let anyone read her second book (perhaps it reveals more than she just learned?).
The weak link in the script/cast is cabin-owner Gary (Kevin Pollak) who dutifully arrives to fix the heat, while managing to ignore the hot human drama as it unfolds.
Accompanying this book of revelations, reconciliations (of sorts) and the aforementioned beautiful sunrise is the original score from Mitchell Yoshida (replete with its sympathetic moodiness—soaring to the artistic heights thanks to Gustavo Lizarraga’s exemplary interventions on the tenor sax), artfully binding Kirkpatrick’s tale of two couples together into a satisfying whole.
Anyone who has once confronted an unwanted surprise from a devoted partner will enjoy a viewing; for the rest, this film may well help you be prepared. JWR