Art as a point of escape is the widest landmark for narrowing the fruits of imagination and for tangible increase in structures and struggles accumulated in reality. While some schools of supporters of thought are clearly inspired by the therapeutical visualizations in cinema, others by double atonement admire the fun particles, which is acceptable from the substrate. But which modality that art or cinema or cinematic classics seem to have to explore, the obvious reality of true expression of emotions can not be randomly indicated.
I went back and forth about how to properly capture this movie, "The Funeral of Kohout", also by Blitz Amassador in a written review. It's painful and psychologically tumultuous on my part about how to deal with the film without having to sense the inaccurate performance and the inadequate superficiality that would make this classical cinematic work. Beautiful or grotesque, the ultimate truth of the writer's scope should not exclude his realization of the reality used by the work of another artist. No matter how this writing appears to be distorted in the construct, it represents in the perceptual impenetrability of the writer's personal sensation.
First of all, let me give you an unbiased pointer that this movie will not be as appealing to everyone – especially for the "ordinary people" whose consumption is so abundant. His taste, pace and sophistication is a bit beyond the normal curve. It is interrupted with a roar of crying that provokes and provokes questions when they watch why this and this style or narrative has been perceived by the director.
In a story told through a strange magical lens, Essy tells how his father, Kojo, whose death was discovered in her sleep for the evil crow and the sacred abstraction of birds; where her uncle Khuana (the brother of Coho) can cause her father's death. Revealing with impressive but beautiful images, each storyline and scene reminds of a typical African or more specific betrayal of the Acan-Ghana blood line, -all materialism.
Through an extensive setting, Koho's intuitiveness to settle in the stilts with the reflection of the lake, embracing his back from emotional attachment to his old essence, did not really bring as constant visits to the dream of his daughter Essie. an exponent with figures running head down. Not surprisingly, like most of the Akai brothers, despite her marriage despite her marriage, she is still in the benches of love for her past love. Convinced by Kubena, Koja returns to the city to deal with illegal extraction to wash her family from her poor state, ending with a crack in a mine. Essie embarks on an amazing task of saving her father, which is narrated by the narrative narrative of Ama K Abébrezé.
With a glimpse of extracting the Gang gang, Gallas (unlawful mining), which became indignantly impenetrable to deal with, the typical Gantic culture of greed and selfishness is realized when, in the most sad scenario of the disappearance of Kohos, a policeman who wants from Amma " small money "to help him press the police records to locate her husband Kojo. Here, China's High Exploitation Syndrome, with no regard for the pollution and abuse of generations on earth, becomes clear with this film. How these Chinese seals on Earth's resources on this country ubiquitously show weak government structures and polarized institutional machinery faced by Ghana and most of the natural resources provided to countries in Africa.
Detective Coombson's striving to cross the slippery boundaries of the quest for Kohout is from the daily African citizen at the exhibition, with caution mapping an anti-cli cloud. His determination to solve the mysterious location of Koho makes him realize how ineffective and distrustful the police are. It became clear when the police officer allowed the Chinese operators of Gallasi (illegal miners) to escape the typical incident of Aisha Huang (the Chinese illicit miner), as witnessed recently in Ghana.
Thoughts provoking visual images, intelligently captured camera angles, and neat immersion in nature, however, ephemeron in the extension of the mind scatter the spark of telling stories at expansive communicative minima that tells the story better even without the usual dialogues. The articulation of motion recorded in the film and used is a great universality of over-expressionism. In classical superfurationalism, perhaps the director has looked beyond his own imagination and is overloaded with his substance, entangled in a somewhat over-fake magical essence, which most often does not place the cosmological pattern of Akan with which the story was moving except in some a fake precursor,
"Kohou's funeral, no matter how watched or viewed, is not one of those movies / movies that overwhelm the user from the start. Its slow, less resurgent pace, subtle strides, and tension-filled modality to tell stories with its harsh sensation is hard to synchronize to the end. Beyond the incredible boundary of its unusual nature of expression, it is almost a perfect epic showman of realism in terms of magic – extrapolated in the depiction of a godly poetic poetic narrative that is impervious to her beauty and essence.
Author: Abeiku Arhin Tsiwah
Abeiku Arhin Tsiwah is an enthusiast from Gan Smartphone // and a content critic. He is editor of poetry at the Lunaris Review (Nigeria Arts and Literature Journal) and creative director of The Village Thinkers (Creative Society and Art Society, Ghana). The poets for the 2018s included in African Prize-winning awards / & / West African Citizens Awards were published in Afridiaspora, Poetry of Whimpering Cats, EXPOUND, Whispering, New Masters, African Writer, Agbówó, Tuck Magazine, Liberian Literature Magazine and elsewhere,