Djibril Diop Mambety’s Hyenas is a remarkable cinematic experience that left me captivated and contemplative. Its vibrant storytelling is as much a visual feast as it is a poignant critique of humanity’s entanglement with greed, power, and modernity. While deeply rooted in Senegalese culture, the film’s universal themes make it accessible to any viewer seeking a richly layered narrative.
At first glance, the setup seems almost whimsical: an impoverished village eagerly prepares for the return of Linguere Ramatou, a former resident who is now fabulously wealthy. But what unfolds is a dark allegory about the corrosive power of money and the fragility of communal ethics when confronted with desperation.
Mambety’s adaptation of Friedrich Dürrenmatt’s The Visit transforms a European tale into a distinctly African fable, encapsulating the post-colonial struggle between traditional values and the allure of modern materialism. Colobane, the dusty, decaying village at the heart of the story, becomes a metaphor for Senegal and, by extension, much of the Global South. The villagers’ capitulation to Ramatou’s offer—wealth in exchange for the life of Dramaan Drameh, her former lover turned grocer—feels both inevitable and heartbreaking.
The film’s pacing is deliberate, allowing viewers to absorb the richness of its imagery and themes. Mambety’s use of vibrant colors juxtaposed with the town’s bleak poverty creates a visual tension that mirrors the narrative’s moral complexity. The villagers’ descent into complicity, marked by the carnival-like arrival of consumer goods and glittering promises, feels unsettlingly familiar in a world where material desires often outweigh ethical considerations.
What struck me most was the duality of the characters. Ramatou, brilliantly played by Ami Diakhate, is neither a victim nor a pure villain. She wields her newfound wealth as a weapon, exacting revenge for the injustices she endured. Yet, her actions reveal the emptiness of vengeance and the futility of wealth as a salve for personal pain. Dramaan, portrayed by Mansour Diouf, evolves from a charming, beloved figure to a tragic emblem of collective betrayal, embodying a quiet dignity even as his fate becomes sealed.
Mambety’s sharp critique of Western economic imperialism resonates throughout. The villagers’ willingness to sacrifice their humanity for fleeting prosperity is not simply a condemnation of their choices but a reflection of the systemic inequalities that create such desperation. The film’s final image—a bulldozer erasing the remnants of Colobane’s consumerist binge—is haunting, a visual metaphor for the unsustainable promises of globalization.
Despite its heavy themes, Hyenas is not without humor. Moments of absurdity, like the mayor ogling a model of an idealized civic building, provide levity while reinforcing the film’s satirical edge. Yet, the laughter is always tinged with unease, reminding us of the stakes at play.
In the end, Hyenas is more than just a film; it’s a call to reflection. Mambety challenges viewers to examine their own complicity in systems of exploitation and to question the true cost of progress. For me, the film was both a visual delight and an emotional reckoning—a timeless masterpiece that continues to speak to the complexities of our modern world.
If you have the opportunity to watch Hyenas, do so. It’s a cinematic treasure that deserves every bit of the renewed attention it’s receiving.