Moolaadé Film Review

Sophie Haydock reviews Sembène Ousmane’s film Moolaadé

''Sembène’s 'Moolaadé' captures his belief in the potential of women and argues strongly against the practice of female circumcision.'' ''Ousmane Sembène considers all his work a “waking up of consciousness” for African society, and fiercely criticises the misuse of tradition as a vehicle for exploitation.'' ''Above all, Moolaadé is a film that demonstrates how some traditions are meant to be broken.''

The tradition of female circumcision occurs globally but is especially prevalent in a significant number of African countries - surviving for various religious, cultural and social reasons. However, many African women and men have long been calling for the eradication of the practice of female genital mutilation.

One voice that stands out is that of acclaimed Senegalese film director Ousmane Sembène - often described as the “father of African cinema”. His films frequently expose the defects, dysfunctions and foibles of a patriarchal African society, crumbling under the pressure between traditional tribal values and the impact of modernisation. Sembène positively depicts female protagonists in his films as strong and empowered - as the radicalising forces who bring about change in African society.

Sembène’s 2004 film Moolaadé is faithful to those feminist principles. It captures his belief in the potential of women and argues strongly against the practice of female circumcision. It’s the most controversial subject of any of his films, drawing attention to how the sexuality of women is controlled under the guise of tradition which enforces subjugation.

The plot revolves around the actions of six young girls who defy tradition by escaping from the ritual purification ceremony where they are about to be circumcised against their will. Two of the girls drown themselves rather than go ahead with the cutting ceremony. The remaining four take shelter with Collé - the one woman in their community who has been strong enough to resist tradition and refuse to have her own daughter purified. Collé helps the girls and fights the tradition of female circumcision with a traditional magical protection known as ‘moolaadé’. She tries to expose purification as nothing more than misogynistic fraud.

The women in the community describe female-cutting matter-of-factly as something they simply have to bear - it is presented as a practice that has never been questioned. Collé, in contrast to accepted public opinion, represents a modernised Africa - one which questions and challenges tradition, and allows freedom of choice.

Ousmane Sembène considers all his work a “waking up of consciousness” for African society, and fiercely criticises the misuse of tradition as a vehicle for exploitation. Moolaadé certainly achieves this objective by depicting the complex tensions surrounding the contentious issue of female circumcision. He also champions the power of knowledge in overcoming negative traditional values.

Above all, Moolaadé is a film that demonstrates how some traditions are meant to be broken. It gives the viewer an insight into a world that as a woman, I am eternally thankful I do not inhabit.