A hallucinatory comic adaptation of Swiss avant-garde writer Friedrich Durrenmatt’s play The Visit, which in Mambéty’s imagining follows a now-rich woman returning to her poor desert hometown to propose a deal to the populace: her fortune, in exchange for the death of the man who years earlier abandoned her and left her with his child. Per its title, Hyenas is a film of sinister, mocking laughter, and a biting satire of a contemporary Senegal whose post-colonial dreams are faced with erosion by Western materialism.
The follow-up to his much acclaimed Touki-Bouki, Djibril Diop Mambéty’s Hyenas is a master at the height of his abilities. From the meticulously crafted cinematography by Matthias Kälin to the immersive score by Mambéty’s brother, Wasis Diop, the film pushed me to consider every frame of In Flames— how the visual language can capture the essence of a place, and by doing so, the spirit of its people. On a narrative level, watching the absurd struggle of the film’s protagonist, Dramaan Drameh, seeking safety in a system that is stacked against him, inspired the screenplay for my own debut.
Finally, the words of towering screen presence Ami Diakhate, who essays the role of the wealthy returning daughter of the soil Linguère Ramatou: ’The world made me a whore, so I’ll make the world a whorehouse.’ This is what it means to be from a hard place; the hard choices that you must make for survival. Karachi, the city I was born in—and the village of Colobane, on the outskirts of Dakar, Senegal—are places that are tied by their fight against neocolonialism, patriarchy, and the salty ocean tide. Hyenas is an essential watch for fans of world cinema, and I hope you revel in its dry humour and unique perspective on the capitalist world we all live in, where justice goes to the highest bidder.
Zarrar Khan, Leading Lights Curator
Supported by
Mansour Diouf, Ami Diakhate, Faly Gueye, Mamadou Mahourédia Gueye, Omar Ba, Issa Ramagelissa Samb
Switzerland/France/Senegal
1992
In Wolof, French and Japanese with English subtitles
Indigenous & Community Access
Credits & Director
Executive Producer
Samba Félix Ndiaye
Producer
Pierre-Alain Meier, Alain Rozanès
Screenwriter
Djibril Diop Mambéty
Cinematography
Matthias Kälin
Editor
Loredana Cristelli
Art Director
Wasis Diop
Original Music
Wasis Diop
Djibril Diop Mambéty
Born in Dakar in 1945, Djibril Diop Mambéty was a Senegalese director, actor, composer, and poet. Mambéty is renowned for one of the most remarkable compact bodies of work in all of cinema, consisting of two features and five short films. He is renowned for Touki Bouki (1973), a landmark in African cinema noted for its unique style and social commentary. Mambéty’s visionary storytelling and cinematic techniques have left a lasting impact on both African and global film industries until his death in 1998.
Filmography: Touki Bouki (1973)
Photo by Carlo Reguzzi
Leading Lights
See more films in this series
The Big City
Satyajit Ray’s first portrayal of contemporary life in his native Kolkata, The Big City follows the personal triumphs and frustrations of Arati, who decides, despite the protests of her bank-clerk husband, to take a job to help support their family.
Investigation of a Citizen Above Suspicion
A police chief murders his mistress, in an effort to prove that his position in society makes it impossible for him to be caught. Petri’s Cannes and Oscar-winning 1970 film is part pitch-black satire, part police-procedural, part psychological thriller.
Hyenas
Mambéty’s follow-up to Touki-Bouki is a mocking satire on post-colonial Senegal: a now-rich woman returns to her poor desert hometown to propose a deal: her fortune, in exchange for the death of the man who abandoned her and left her with his child.
Marlina the Murderer in Four Acts
In the deserted hills of an Indonesian island, a young widow is raped and robbed. In defending herself, Marlina kills several of the attacking gang, then sets out to find justice. Surya's spectacular revenge movie coopts western tropes to feminist ends.