Today we are going to talk about a movie that perfectly captures the nature of politics across Africa. Yes, the movie is set in Madagascar, but I’m going to look at it as an outsider, solely based on what is presented.
Disco Afrika directed by Luck Razanajaona brings to life issues that hit close to home, I am talking land grabbing, political protests, extrajudicial killings, and the fight for a decent life. But this is not a fast-paced political thriller that will leave you dizzy from the eratic editing. This is more of an art film, and all the “art film” tropes are in full flight.
The story follows Kwame, a young man trying to make ends meet. After a mining hustle goes south—thanks to what can only be described as land grabbing—Kwame is forced back to the city for a ceremony (keeping it spoiler-free) and, most importantly, to try to make a living. His journey takes him through shady dealings and rough situations as he tries to uncover the truth.
If you’ve lived in Africa, this story will feel very familiar. The protests, the implied violence, and the aftermath all paint a picture of what many young people on the continent face, especially Kenyans.
Where to see it
Before we continue, you can go watch the movie for yourself on Unseen (January 2025).
Positives
I loved what they did with the title reveal. As I mentioned earlier, this is an art film. This is not a Jason Bourne political thriller. It’s not flashy or fast-paced but takes its time to guide you through the story.
The pacing is deliberate, but it’s worth it just for the cinematography. The framing in some scenes, especially during the second act, is fantastic, particularly the scale play.
Light—its presence or absence—is utilised effectively to elevate moments that could be boring if given a basic treatment. Madagascar is not romanticised in this film. The locations are varied, from rural areas to dingy city streets to the docks, but the one thing that stuck with me is the discpline in framing.
The sound design is also really good. By that, I mean the nights sound like nights, and docks like docks. The use of natural sounds makes everything feel real. It’s not overly polished, just grounded.
The performances are solid. Kwame’s character is brooding and quiet, which fits the tone of the story. In art films, a lot of expressions are suppressed, but that’s how these kinds of films usually are. The other characters, like his mom and Babaa, follow a similar approach.
Idi, one of the standout characters, brings a different flavour to the film. His character is a contrast to everything else presented up to the point of his introduction. However, his story isn’t explored enough, and by the time you get to the end, you’re left with questions surrounding his character.
What I struggled with
The main issue for me was the music. Don’t get me wrong—there is music in the movie, and it is interwoven into the story—but it’s only one song that captures the “disco” aspect of the movie. I thought there was a missed opportunity to give us more hidden gems from the 70s and 80s.
This is also a sufferations film. For the main character there was misery always lurking and in a way it made me sad, which is what movies are meant to do, make you feel something.
The movie does a good job tackling serious issues like political protests and injustice. However, the build-up to what is supposed to be the climactic big protest at the end lacks weight and consequence. There is an over-reliance on exposition.
The pacing might also be an issue for some people. While the film is under an hour and a half, it feels like it could’ve been longer to fully flesh out the characters and events. Kwame’s arc is unnecessarily convoluted, and Idi’s story needed to be fully fleshed out.
Disco Afrika: A Malagasy Story is a movie that speaks to the African socio-political experience. It deals with real issues—protests, violence, and political corruption—and utilises the art film formula to create a compelling story, but honestly, the third act is underwhelming and could be better.
