UDJU AZUL DI YONTA economic liberalization in the late 1980s created new hardships. The film graphically conveys the run-down poverty of Bissau, the nations CThe Blue Eyes of Yonta) capital: it may not look it, but all the action but one short scene takes place in the city. The contrast with an extravagant wedding reception at the local Sheraton Hotel illustrates the deep inequality that charac- Guinea-Bissau. 1992 terizes Guinea-Bissau less than a generation after independence was Director: Flora gomes achieved at the cost of great sacrifices. The blue Eyes of Yonta takes a critical look at the infatuation with things Western. Ze copies his letter to Yonta out of a Europear Production: Vermedia(Lisbon), Cooperativa Arco-iris(Bissau), brochure of love letters meant to be addressed to beauties with blue Eurocreation Production(Paris). and radiotelevisao Portuguesa(lis eyes, to be written while the snow falls. The poet wallows in his bon): color, 35mm: running time: 90 minutes. Released 1992. longing for the Swedish girl with the blue eyes. And a war hero returns with presents from Portugal that follow European fashion and Producer: Paulo de Sousa; screenplay: Flora Gomes, Ina Cesair, taste rather than African needs. At the same time we see acomfortable David Lang, and Manuel Rambout Barcelos; assistant directors: amalgamation of tradition and Western import. We hear a few references to God but we also see tradition observed with a libation of phy: Dominique Gentil: editor: Dominique Paris: sound: Pierre wine at a wedding ceremony that strikingly combines traditiona Donnadieu; sound mixer: Anita Fernandez; costumes: Seco Faye marriage transactions between the spouses's families and a civil and Teresa Campos; music: Adriano G. Ferreira-Atchutchi; set marriage. The bride's white gown and her African hairdo beautifully demonstrate the felicitous integration of old and new The various characters present different responses to the state of Cast: Maysa Marta(Yonta): Pedro Dias(Ze): Antonio Sima Mendes Guinea-I Guinea-Bissau nearly two decades after independence. Yonta stands (Vicente); Mohamed Lamine Seidi(Amilcar): Bia Gomes(Belante); at the center of this comedy of misplaced affections. Yonta's frivolity Dina Vaz(Mana). reflects the city and its superficiality. She admires Vicente but does not share his dreams: "If your ideals have been spoiled, it's not my Awards: Audience Award, wurzburg International Filmwe fault. We respect the past, but we cant live in it. In the end Yonta is end,1994 rejected by both Vicente and Ze, but she remains secure in the affection of her parents and her younger brother, however much he tease her Publications Vicente is a war hero. But he has not been able to stick to the ideals he fought for. MOney is the weapon now, he tells Amilcar, " The Articles. war is over. He drives a Volvo and brings the gifts from Europe, however inappropriate, that people will enjoy. When he is finally Deffontaines, Therese- Marie, Les Yeux bleus de Yonta, in Ecrans reunited with Nando, his comrade-in-arms, he observes resignedly: d'afrique, vol 1, 1992 In the jungle we thought it would be for everyone. But its not. What Libiot, Eric, review in Premiere(Paris), June 1993 can I do?" The fruits of independence have come to some, here in the D'Yvoire, Christophe, review in Studio(Paris), June 1993 capital, and Vicente asks Nando to join him to get his share. But Ukadike, N. Frank, "" In Guinea-Bissau, Cinema Trickles Down: An Nando has been marked even more profoundly by the struggle. He Interview with Flora Gomes, " in Research in African Literatures, wants no part of Bissau and returns to Catio, once at the center of the vol.26,no.3,1995 war for liberation. His quiet departure confronts Vicente with the failure of their struggle. As he talks to the sculpture he cradles and dances to circling vultures, we wonder whether he has gone out of The African Party for the Independence of Guinea and Cape Verde ze is moonstruck by Yonta but comes to realize that they live in (PAIGC)that liberated Guinea-Bissau was more successful than any different worlds. Though her radiance bewitches him, he eventually other guerrilla movement in Africa. In Those Whom Death Refused rejects the conspicuous, Western-oriented consumption of Bissau she Flora Gomes had contrasted guerrilla warfare and nonchalant bureau- represents. He does not share the dream of the young who want to rats. Four years later he created a beautiful film that reminds us of the emigrate to Europe; he affirms that the place he came from-Bolama, acrifices made during the war but focuses on the present in Bissau. the war-time capital, symbol of the struggle for independence-is as The Blue Eyes of Yonta shows that the socialist transformation good as Bissau, and he is prepared to return there. If Yonta's glamor promised at independence failed to materialize and that the shift to recalls the glittering promises that came with independence nearly1253 UDJU AZUL DI YONTA U (The Blue Eyes of Yonta) Guinea-Bissau, 1992 Director: Flora Gomes Production: Vermedia (Lisbon), Cooperativa Arco-Íris (Bissau), Eurocréation Production (Paris), and Rádiotelevisão Portuguesa (Lis￾bon); color, 35mm; running time: 90 minutes. Released 1992. Producer: Paulo de Sousa; screenplay: Flora Gomes, Ina Césair, David Lang, and Manuel Rambout Barcelos; assistant directors: Manuel João Ěcuas, Odete Somedo, and Gildo Mendes; photogra￾phy: Dominique Gentil; editor: Dominique Páris; sound: Pierre Donnadieu; sound mixer: Anita Fernandez; costumes: Seco Faye and Teresa Campos; music: Adriano G. Ferreira-Atchutchi; set design: Miguel Mendes. Cast: Maysa Marta (Yonta); Pedro Dias (Zé); António Simã Mendes (Vicente); Mohamed Lamine Seidi (Amílcar); Bia Gomes (Belante); Dina Vaz (Mana). Awards: Audience Award, Würzburg International Filmweek￾end, 1994. Publications Articles: Deffontaines, Thérèse-Marie, ‘‘Les Yeux bleus de Yonta,’’ in Ecrans d’Afrique, vol. 1, 1992. Libiot, Eric, review in Première (Paris), June 1993. D’Yvoire, Christophe, review in Studio (Paris), June 1993. Ukadike, N. Frank, ‘‘In Guinea-Bissau, Cinema Trickles Down: An Interview with Flora Gomes,’’ in Research in African Literatures, vol. 26, no. 3, 1995. *** The African Party for the Independence of Guinea and Cape Verde (PAIGC) that liberated Guinea-Bissau was more successful than any other guerrilla movement in Africa. In Those Whom Death Refused Flora Gomes had contrasted guerrilla warfare and nonchalant bureau￾crats. Four years later he created a beautiful film that reminds us of the sacrifices made during the war but focuses on the present in Bissau. The Blue Eyes of Yonta shows that the socialist transformation promised at independence failed to materialize and that the shift to economic liberalization in the late 1980s created new hardships. The film graphically conveys the run-down poverty of Bissau, the nation’s capital: it may not look it, but all the action but one short scene takes place in the city. The contrast with an extravagant wedding reception at the local Sheraton Hotel illustrates the deep inequality that charac￾terizes Guinea-Bissau less than a generation after independence was achieved at the cost of great sacrifices. The Blue Eyes of Yonta takes a critical look at the infatuation with things Western. Zé copies his letter to Yonta out of a European brochure of love letters meant to be addressed to beauties with blue eyes, to be written while the snow falls. The poet wallows in his longing for the Swedish girl with the blue eyes. And a war hero returns with presents from Portugal that follow European fashion and taste rather than African needs. At the same time we see a comfortable amalgamation of tradition and Western import. We hear a few references to God, but we also see tradition observed with a libation of wine at a wedding ceremony that strikingly combines traditional marriage transactions between the spouses’s families and a civil marriage. The bride’s white gown and her African hairdo beautifully demonstrate the felicitous integration of old and new. The various characters present different responses to the state of Guinea-Bissau nearly two decades after independence. Yonta stands at the center of this comedy of misplaced affections. Yonta’s frivolity reflects the city and its superficiality. She admires Vicente but does not share his dreams: ‘‘If your ideals have been spoiled, it’s not my fault. We respect the past, but we can’t live in it.’’ In the end Yonta is rejected by both Vicente and Zé, but she remains secure in the affection of her parents and her younger brother, however much he may tease her. Vicente is a war hero. But he has not been able to stick to the ideals he fought for. ‘‘[M]oney is the weapon now,’’ he tells Amilcar, ‘‘The war is over.’’ He drives a Volvo and brings the gifts from Europe, however inappropriate, that people will enjoy. When he is finally reunited with Nando, his comrade-in-arms, he observes resignedly: ‘‘In the jungle we thought it would be for everyone. But it’s not. What can I do?’’ The fruits of independence have come to some, here in the capital, and Vicente asks Nando to join him to get his share. But Nando has been marked even more profoundly by the struggle. He wants no part of Bissau and returns to Catio, once at the center of the war for liberation. His quiet departure confronts Vicente with the failure of their struggle. As he talks to the sculpture he cradles and dances to circling vultures, we wonder whether he has gone out of his mind. Zé is moonstruck by Yonta but comes to realize that they live in different worlds. Though her radiance bewitches him, he eventually rejects the conspicuous, Western-oriented consumption of Bissau she represents. He does not share the dream of the young who want to emigrate to Europe; he affirms that the place he came from—Bolama, the war-time capital, symbol of the struggle for independence—is as good as Bissau, and he is prepared to return there. If Yonta’s glamor recalls the glittering promises that came with independence nearly