[CRITICAL] WÙLU

Wùlu, initiatory journey brutal of a young man taiseux who rescues his sister at the risk of losing.

Ladji (Ibrahim Koma, whose strong presence is remarkable) is a young man, malin, taiseux, who sees everything. What makes the movie touching, and it is this beautiful relationship between the big sister Aminata (light Inna Modja, of which this is the first role), and his “little brother” Ladji, that it was high. It will lose to the rescue and allow a climb up the social ladder unexpected.

Director Daouda Coulibaly wanted to situate the plot of his first feature film in 2012, insisting on the responsibility of drug trafficking on the bankruptcy of the malian government. The thread of the story does not give the viewer a second and keeps it in a state of tension permanent. It is on the shoulder of Ladji, one accompanies it with empathy. Working for an unscrupulous man (always perfect Olivier Rabourdin), the director spares us nothing about the way in which Ladji himself will fi of his own.

The staging of WÙLU , and rather original, gives access to the universe of african tales, making travel both physically and metaphorically. The strong images of cows being sacrificed in the slaughterhouses, thus strengthening the respect to the acts that have marked the life of Ladji. In the community in Bambara, the last level of the initiatory rite in which a man may claim, defining their place in society, is the Wulu dog. In following the life of Ladji and Aminata, WÙLU offers an analogy powerful with this ritual, and questions skillfully about the sacrifices, and the sacrifices that each is willing to do to get rid of social conventions and choose his life.

Sylvie-Noelle

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