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Wonderful character development!

So much average

Good films always raise compelling questions, whether the format is fiction or documentary fact.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

perhaps the stereotypes of Americans being impatient with storytelling and in need of action is true. i found myself perpetually bored by this film. this in and of itself would not be such a bad thing, lots of film bore me. but this one actually has some decent storytelling to it. the problem comes from a lack of willingness to edit down the film, to move things along. too many shots of characters sitting around looking as if they are waiting to be filmed or photographed, glances caught at some distant nothing. mock modeling sessions for calvin klein ads. shots that consist of little more than a character walking across the frame. some tighter editing would have brought this same story in at around 45 to 50 minutes and would have lost nothing but fillers and time killers.

There are a handful of films from Africa that can leap out like a big cat from the celluloid jungle and make the viewer think. A recent example is Daratt (Dry Season), a movie from Chad, a Central African country that was initially economically weakened by the French colonial rule and later, after gaining independence, slumped into a 40-year-old civil war. The neighboring Darfur crisis and the spillover of refugees have not ameliorated the political and economic situation of this landlocked country. Imagine living in a country that is dusty and hot with the Sahara desert to its north. Imagine living in a country where two generations of its population have not encountered peace or progress but live under the constant shadow of fear and corruption. If you can empathize with the unusually inhospitable situation, you will realize the title of the film is not merely a reflection of the hot, dusty climate, but a metaphor to describe life in Chad today.This film is a powerful mix of metaphors and fables. The atmosphere captured in the film is real. People still get their news on the radio—not on TV or by reading newspapers. People still eat freshly baked sticks of French bread. People still carry guns that often can compare with the best anywhere in the world, quite in contrast to what else is available. The younger generation includes street-smart crooks and quiet, hardworking young men yearning for normal family bonds and affection that the civil war did not allow to grow. When the young man is asked by a baker what he wants, he answers laconically—"Not charity." Today, what Chad requires is not charity as well, but honest hard work that will build the nation. What is unreal in the film? Corruption that eats into the soul of Chad is never glimpsed save for petty thieves selling fluorescent lights stolen from semi-dark streets in the night. What the viewer sees is a baker baking fresh bread and distributing it free to young hungry boys (the entire film suggests that young girls are an endangered species!). Now why would a person do this? Is the baker so rich that charity has become his vocation? It is possible that any scene of money changing hands for the baker's bread got lopped off on the editing floor because another baker is later shown providing aggressive competition. Terror is never shown on screen save for slippers left behind by crowds that apparently fled in terror.What are the metaphors in the film? A "blind" grandfather seeks revenge after a radio broadcast proclaims amnesty for the perpetrators of the horrors. The blind man hands a gun to his grandson, now an orphan called Atim (metaphorically meaning an orphan) to avenge the death of his parents by killing a certain individual in a far away city. This perpetrator of crimes, now a symbol of reconciliation, hard work and progress has lost his "voice" and can only speak with artificial aids. Yet he is the one with a kind heart, wanting to adopt a hardworking son, and keeps his armory of weapons well hidden.The "good" men who seek revenge are blind. The "bad" men who seek reconciliation, normalcy and family life can't speak (metaphorically). And both men are devout Muslims. That's Chad today! The final outcome of the film is easily played out for the viewer because of these physical constraints of the two men. The outcome is easily played out as social mores are not tampered with—the grandfather's command is seemingly obeyed. The "father's" love for the "son" is acknowledged. It would be too simplistic to draw parallels between Daratt and Argentine/Chilean Ariel Dorfman's play "Death and the maiden", later adapted for the screen by American novelist Rafael Yglesias for Polish director Roman Polanski. Yglesais' and Polanski's ambiguous final scene in their film of the same name, where principal players exchange loaded glances, is a delight. In total contrast, "Daratt's" final scene is not of individuals but of the dry environment, as the camera zooms out. The viewer is nudged by the director to see the larger picture of the film, not the bare story line. What Polanski and Yglesias did in an American/European film, Mahamet-Saleh Haroun has equaled with ambiguity and force rarely seen in Africa cinema. Will the dry season accept a world of reconciliation that will lead to rain (a metaphoric wet season) and prosperity for future generations indoctrinated in love and traditional values? Perhaps, yes. Perhaps, not. . "Moolade," "U–Carmen e Khayelitsha," and "In Casablanca, angels don't fly" are three examples of mature works of recent African cinema, with its distinct African aesthetics, that transect the length and breadth of the vast continent and capture the tragedy and aspirations of its people. I am pleased to add "Dry Season" to my list of formidable African cinema.

I found this Directors first film, Abouna, utterly delightful on the second viewing, the first it dragged and I found myself checking my watch. Personally,I think there's a need to get into a different mindset for African films, they move at a much slower pace. Often, things are shown, not explained and require the viewer to work a lot harder at extracting meaning. Darrat is no exception, there were several episodes I wondered what the point was, but they offered fascinating windows upon a society and country of which we remain in ignorance. For example, a long camera pan across a dusty street strewn with discarded plastic bags. The characters such as the baker, unable to speak since his throat was cut, could be read as metaphors for our relationship with Africa. Does Africa and her people ever have a voice? If she speaks, are we listening? There's not much I feel I want to add to the excellent and insightful comments from previous reviewers, except I think this film can be read as that - a metaphor for African countries troubled and turbulent relations, within, between themselves and the West. The grandfathers blindness symbolises perhaps a society unable to 'see' its way forward. Or something. A subtle, fascinating film which will repay subsequent viewings.

The premise of this fable is as simple as it is powerful: in an African country torn by civil war, a sixteen-year-old orphan is asked by his blind grandfather to execute the man who killed his father. Of course, Atim, the young one, having been brought up along "An eye for an eye, a tooth for a tooth" lines, does not object in the least and, armed with the gun of his own father, hits the road to accomplish his mission. It does not take him long to trace Nassara, the war criminal in question. However the man is in no way the monster Atim expected to meet. On the contrary, Nassara has become a respectable married baker, whose young wife is pregnant. The ex-killer even goes to the mosque and gives alms to the poor children of his village. But Atim knows all too well that this good man once made HIM an orphan so the best thing to do is to offer his services to the baker who accepts to hire him as his apprentice. This way Atim will be able to gun him down easily when the appropriate time comes. But things do not go according to plan. Do they ever…?For, little by little, and very paradoxically indeed, a son-father relationship is born, and it becomes more and more impossible for Atim to kill Nassara .On the other hand, the young man does not want to betray his grandfather. You could think this is a no way out situation but Mahamat Saleh Haroun has imagined an amazing finale in which he enables his hero to square the circle: by pretending to execute Nassara in front of his grandfather who –remember – is blind. Satisfied with the two bangs he hears, the grandfather feels revenged while Atim has spared the life of the man he has learned to know.The moral of the fable is clear: forgive your enemies, try to live together in peace, this is the only way to unify your country, to make it become a democracy. Of course all this sounds a bit saintly, not to say goody-goody, but Haroun is neither wet nor soft-headed. If Nassara can be forgiven it is because he has become another man, and pardon constitutes a long and difficult process. Moreover, it is not always possible, for instance for the vile, arrogant, gun crazy soldier Atim meets in the "taxi brousse". When after being threatened and humiliated by him, the orphan meets him again, he beats him up (and maybe kills him) without being explicitly condemned by the writer/director.Mahamat Saleh Haroun is a courageous artist. Indeed it takes tremendous energy to manage to make a film in a poor country , ravaged by civil war for four decades, like Chad. Moreover he doesn't shy away from burning issues, for he doesn't rub everybody up the right way.As a filmmaker, he proves able, particularly good when it comes to directing the actors. I suppose the persons who act in this film are amateurs but you would never say so, convincing as they are.Haroun has indeed managed to make Ali Bacha Barkaï really impressive as the troubled gun-toting teenager, although he lets him be too invariably sulky to be perfect. Youssouf Djaoro, for his part, captures to perfection all the strengths and weaknesses of his character and deserves a best actor award, although I am pretty certain he will never get any.The only real flaw (but a serious one I am afraid) is the film's lazy rhythm. Too bad because, except during the last ten minutes, this viewer was more interested than captivated, more respectful than overcome by emotion. All the same "Daratt" is well worth seeing and is a good insight into a country most of the time ignored by the media. So feel free to see it.