Film critic for Boulder Weekly.
Blending animation, documentary, and narrative, director Med Hondo follows an African immigrant (Robert Liensol) looking for work in an intolerant France, one that refuses to look at him, let alone employ him, while simultaneously stripping him and his country for parts. “I am bleached by your culture,” he muses.
Made over three years for $30,000, Hondo describes Soleil Ô as therapy: “For everything that disturbed me in both my physical and moral life, after all that I’d been through, that others had been through.”
Remember those old movies? The ones where a couple drives down the road, only they aren’t driving, they’re sitting in a car on some studio lot. And that’s not a road behind them; it’s a rear projection of road. Looks fake doesn’t it?
Did this fakery bother audiences back then? Not in the slightest. Back in the 1920s, ’30s and even into the ’40s, movies were about beautiful people living in fabulous mid-city apartments, dressing glamorously, saying the right thing…