NYADIFF ’18: The Sky Princess

There is no Twilight Zone in this world. How very sad. They eat vegetables and work all day in Sun Village, because of the constant sunlight. In contrast, people scarf meat and dance all endless-night in Moon Kingdom. A poor young Sun Villager will bring the halves together, but it is not clear how or why in Dara Harper’s animated fable, The Sky Princess (trailer here), which screens as part of the 2018 New York African Diaspora International Film Festival’s school program.

Dafina’s family is poor, even by Sun Village standards. Yet, her parents take perverse pride in the hard-working simplicity of their lives. She is definitely short of princely suitors. She just has her goofball pal Mosi, who is determined to get out of the friend zone. As a result, she cannot resist when the evil Owl-creature Tamu offers her a bargain that does not sound so Faustian, allowing her to experience life as the princess of Moon Kingdom for as long as she wants. At first it is rather fun to live as royalty, but she eventually starts to miss her family (even though the voice of her new mom, the Moon Queen is supplied by Vivica A. Fox). Unfortunately, when she finally decides to opt out, Tamu shows her his true colors.

Even though the animation of Claye Edou’s Minga and the Broken Spoon is rather simple, it is still appealingly old fashioned in a sentimental throw-back kind of way. In contrast, the CG-animation of Sky Princess just looks cheap and down-market, like a YouTube gag video thrown together with public domain animation software.

Harper’s narrative is a nice story that has some nice messages with respect to true love and filial piety, but in some ways, it could be seen as a critique of Dafina’s aspirations for upward social mobility, which is problematic (suggesting she should have just accept her lot farming and eating veggies). The prologue and epilogue also clearly state Dafina brought about a rapprochement between Sun Village and Moon Kingdom, but we never see that happen at all. The songs are not especially memorable either.

It is nice to give every kid an opportunity to identify with heroic animated characters, but the timing for Star Princess is not so great, considering Miles Morales, the African-American-Puerto Rican Spiderman is about to swing into theaters. It is achingly well-intentioned, with no objectionable subject matter whatsoever, but animation connoisseurs will definitely find it a minor film. Obviously intended for young audiences, The Sky Princess screens this Tuesday (11/2) and Thursday (11/29), during this year’s NYADIFF.

NYADIFF ’18: Sons of Benkos

The Colombian village of Palenque de San Basilio was the first colony of freed slaves ever established in the Americas. It predated Liberia by over one hundred years. Not surprisingly, the Spanish were less than thrilled with its founder, Benkos Biohó, who was both a former slave and a former African prince. Biohó met a tragic end, but Palenque would become one of the leading hubs for African music in Latin America. Silva Lucas surveys the current Palenque music scene and examines its cultural implication in Sons of Benkos, which screens during the 2018 New York African Diaspora International Film Festival.

Although the Spanish betrayed and executed Biohó, the village remained highly aware of its African heritage. However, the African influence on local music really became significant in the 1960s and 1970s, when African styles like Highlife, Afrobeat, and Makossa came to international prominence. Soon, a “sound system” sub-culture sprung up, blasting the latest African imports across the neighborhood. Palenque bands started incorporating African styles, but they gave them a local twist. Interestingly, there is also an older Cuban son tradition in Palenque, but it is largely associated with funeral ceremonies.

There is no question the medium-sized, fifty-two-minute Sons of Benkos is a worthy and informative film, but it will leave many fans of Latin and African music wanting more (arguably a good sign). We could have easily followed Lucas on a deep dive into the Palenque scene, but he basically skims the surface. Of course, he is also analyzing Palenque’s historical and social significance as a community of former slaves, which is also important. Still, there should be plenty of music and material to support a full-feature length documentary treatment—and anyone who sees Benkos would surely be willing to come back for more.

Regardless, Lucas’s film sounds great as it is. Visually, it is a little raw, but there is no question he was there on the streets and in the sound system parties. Easily recommended for Latin, African, and “World” music listeners, Sons of Benkos screens tomorrow (11/24), preceding Cimarronaje en Panama, as part of this year’s NYADIFF.

NYADIFF ’18: Last Drinks at Frida’s (short)

Frida’s is not the most welcoming jazz club in the world, but it will serve Indigenous patrons. There are not a lot of nightclubs in post-war Sydney that will, so it would be a shame if this shell-shocked soldier found himself banned from the premises. He really hasn’t done anything wrong, but he knew Frida way back when, making things awkward in Bjorn Stewart’s short film Last Drinks at Frida’s, which screens as part of the 2018 New York African Diaspora International Film Festival.

He served honorably, but the unnamed WWII soldier has a severe case of PTSD compounded by the racism and disinterest of Australian society he returned to. Frida’s was one place he could go to drown his sorrows—and the music is good. Nobody knows his name there, but he knows Tilly de Frida, the proprietress and main vocal attraction. They were both students together at one of the notorious schools for young Indigenous Australians. She really did not know him then either. He has always been shy and has become even more withdrawn. Yet, something about the man in uniform draws Frida’s eye.

Although Last Drinks is more about social criticism than musical numbers, it makes perfect sense to set it in a jazz club. It also sounds swingingly era-appropriate, thanks to the music of Charlie Chan, who also leads the on-screen combo backing up Frida. It is a nice group, featuring Chan on piano, Andrew “Jock” Robertson on reeds, Ashley Tuner on bass, Andrew Dickeson drums, and Ursula Yovich providing Frida’s smoky vocals.

Mathew Cooper and Dalara Williams develop some rather poignant chemistry together as the soldier and the songbird. Cinematographer Roger Lancer also gives it the sort of moody, noir look that perfectly suits a film set in a jazz club. It looks good and sounds great. Despite the hardboiled trappings, it ultimately makes its points with a relatively light touch, which is a credit to Stewart and screenwriter Kodie Bedford. Very highly recommended for fans of jazz dramas and Australian cinema, Last Drinks at Frida’s screens tomorrow (11/23) and Saturday, December 1^st, as part of the Aboriginal Australia shorts block at this year’s NYADIFF.

NYADIFF ’18: Minga and the Broken Spoon

Minga has a lot in common with Cinderella, like an evil step-mother and a selfish step-sister, but her prince recognizes her right away as the woman he loves. They will still have to fight for their happily-ever-after in Claye Edou’s Minga and the Broken Spoon (trailer here), which screens as part of the New York African Diaspora International Film Festival’s school program.

Broken Spoon has already made history as the first animated film produced in Cameroon. Animation fans should grade on a generous curve, because its level of sophistication is a far cry from what they would expect from Japanese and Hollywood animation houses. However, the vibrant colors are pleasing to the eye and appropriate to the film’s setting and story. There are also several virtue-instilling messages parents will appreciate. If you want to really dive deep, you can also pull out a timely critique of polygamy.

Poor Minga is the daughter of her late father’s second wife. When both her parents died from disease, she was left at the mercy of her step-mother, Mami Kaba, who exploits her cruelly. When Minga accidentally breaks a spoon her late father has specially crafted for Mami Kaba, the first wife finally expels the Cinderella-like girl from her home. Frankly, it is the best thing that could happen to Minga, but she doesn’t immediately see it that way. However, thanks to the help of a mysterious hermit, Minga soon finds herself in the company of Prince Lobe and his loyal retainers. She should just declare victory then and there, but she is determined to have a rapprochement, even though she doesn’t owe them anything.

Shrewdly, Edou adapted a beloved Cameroonian children’s book, guaranteeing a large domestic audience for the film, over and above its novelty as the nation’s first animated feature. It is easy to see analogs or models for many plot points in Broken Spoon, including Cinderella, of course, but also Aladdin, several of Aesop’s fables, and the frog and the scorpion parable Orson Welles tells in Mr. Arkadin. However, Minga’s tale rewards hard work, humility, and respect for elders in compelling ways.

It is probably safe to say the third act makes a decisive break from the Cinderella narrative, but that makes it feel rather fresh and different. The closing song is also quite catchy. Again, animation connoisseurs need to temper their expectations, but they should at least give the film its trailblazing due. In fact, it is quite likable in an old-fashioned kind of way. Recommended for patrons of African cinema and supportive animation fans, Minga and the Broken Spoon screens this Friday (11/23), next Friday (11/30), and Sunday, December 9^th, during this year’s NYADIFF.