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Cameroonian media professionals responded to the press screening of the film “Bendskins” at the French Institute in Yaoundé on July 3rd. A feature film directed by Narcisse Wandji and which brings us into the tumultuous daily life of motorcycle taxi drivers commonly called “bendskineurs”. An original work that assumes itself, that is not afraid to shock, to titillate and especially to give a good time. In short, cinema.
Bendskins is an urban chronicle of Cameroonian society through the eyes of 3 moto-taximen. The director and co-screenwriter of this work, Narcisse Wandji, a former moto-taximan, decides to make with this first feature film, a choral film, but which does not necessarily meet the rules of choral film. Because where the choral film has accustomed us to living autonomous stories of characters who intersect and intermingle, Bendskins (Cameroonian argo motorcycle-taxi) tell us the story of three Benskineurs who have only two common points, the street and the motorbike. 3 stand-alone stories that would each make a short film, but three stand-alone stories put together and in which the audience will identify. Between the story of the bag-snatching moto-taximan who befriends one of his clients, the moto-taximan who impregnates the daughter of the villainous policeman of the neighborhood (a nod to Quartier Mozart by Jean Pierre Bekolo) whom he is supposed to accompany to school and this moto-taxiwoman who is looking for her rapist, a non-exhaustive panorama of Cameroonian urban society is drawn up. 3 stories therefore, which speak of love, rape, pregnancy, responsibility but also of society and politics because the director and his co-screenwriter Bouna Guazong do not fail to approach, in a subtle way or not, political subjects in Cameroon.
To this story can be added the director’s many winks to two filmmakers who according to him inspire him in his artistic approach: Jean Pierre Bekolo and the late Djibril Diop Mambety. Two respective works by these filmmakers are highlighted, Quartier Mozart (1992) and Touki Bouki (1973). With all these ingredients, the film is watched in one go, the rhythm is maintained from start to finish with the exception of one or two sequences whose relevance could well be questioned.
Another element that makes it possible to see the film with always interest, the language of the characters which suits their character and the more than effective use of music to illustrate certain sequences. Besides, the relevance of this music with certain sequences will have made more than one in the room burst out laughing. The music intervenes where it is needed and when it is needed Bendskins tries to question or to bring his glance on the place of the Bendskineurs in the society. Having become major players in the transport of Cameroonian society, these moto-taximen and women form a body of work born from the prevailing unemployment and the inability of the rulers to find opportunities and jobs for the many young people leaving universities and burdened with their diplomas. What to do with these motorcycle taximen, both useful and bulky? Thorny issue that the film may still bring to the table. The film is committed and puts at the helm the local politicians who are responsible for finding a solution to this social phenomenon.
Bendskins is also an interesting artistic process. The film is certainly one of the rare works produced over the past 5 years in Cameroon with a real approach and cinematographic proposal. If the acting is not convincing in all respects, some actors really stand out in particular Danilo Melande who plays Sani the Bendskineur cinephile and keen on the classic of African cinema at the origin of Saturday’s pregnancy (again a wink of eye to Quartier Mozart) embodied by Stella Tchuisse. Is this ultimately the story of Sani or of Samedi? Question to all screenwriters. We can also salute the performance of Merveille Akamba, the motorcycle taxiwoman who leads a painful quest in order to find her rapist and father of her daughter.
The sets of the film very accurately portray the city, Yaoundé, where the plot takes place. Decorations richly highlighted thanks to the very successful photography work of Eugene Sotti who signs here his first feature film as director of photography. The director and the director of photography have opted for warm, very contrasting and somewhat dark images to portray according to Narcisse Wandji “the dystopian universe” in which the film is inscribed. One thing is certain Bendskins offers a story that fits into the daily life and reality of every Cameroonian. And the team behind the film used all the energy to come up with a respectable film.
In sum Bendskins is a film that lets you watch, a film that has its strengths and weaknesses but above all a film that oozes energy, will and daring. Characteristics necessarily necessary to build the new Cameroonian cinema. The film which was selected at the Cinémas d’Afrique de Lausanne 2021 festival will officially be released in Cameroon on August 27 and 29, 2021 in Douala and Yaoundé, according to the announcement made by the film producer Evodie Ngueyeli. A film that we strongly recommend to all our readers but also to all 237 moviegoers!
Rostand Wandja
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