‘Banel & Adama’ Review – Love Is A Many Selfish Thing

Banel and Adama are in love. Truly, madly, deeply in love. To the point where nothing else seems to matter quite as much. Not herding the sheep, or doing the laundry, and certainly not the traditions of their small Senegal village. Especially not to Banel; her dream is to escape the village and move into the houses she and Adama discovered buried in the sand. But then, it all changes when Adama is chosen to be Chief and lead the village. He refuses because he does not want to be forever burdened by the village. Suddenly, there is a drought, the animals begin to die off as do many of the villagers. Is this the curse of Adama’s refusal? Could the traditions and myths be true? Is love standing in the way of the prosperity of this village?

That is the premise for Ramata-Toulaye Sy’s debut film. Banel & Adama is a lush West African folklore of tragedy and romance as the two lovers must reconcile with the clash their relationship has with the traditions of their society. Banel is headstrong, confident, and capable, and she believes she is worth more than the standards her village has set for her. She knows if she is to stay there, she will eventually succumb to their customs. One of which is to bear children, which she adamantly refuses to do. Khady Mane plays Banel with fierce intensity. She is asked to carry a lot of the emotional load of the film. Her anger is righteous, and so is her passion. She pleads with Adama to help her dig the houses out and argues against him allowing the misfortune of the village to sway him from their goals. Mane is stoic and steadfast throughout the film. It is a quiet determination that fiercely advocates for independence while maintaining her intense love for Adama.

Mamadou Diallo’s Adama, however, is completely different. He’s deeply sensitive and empathetic. He can’t stand the sight of slaughtered animals, and despite his love for Banel, sympathizes with his village over the drought and deaths. Adama’s contrast could be seen as a way to show Banel’s coldness. Her desire to escape is so great that she refuses to acknowledge what is happening and wholeheartedly rejects the villagers’ explanation that it has to do with Adama’s refusal to honor tradition.  It’s a story where their love isn’t turned over by a third provocateur, but rather the sudden and drastic removal of security. It’s the killer of all relationships. What do you do when all you really have is each other? How strong is your love then?  Diallo’s eyes lend a profound sadness to Adama. He moves almost as if he’s not in control of his own actions, whether he’s running away from an animal killing or digging the houses out with Banel despite his reservations. 

What comes through in Banel & Adama is Ramata-Toulaye Sy’s vision. Her film is lush and lyrical, but also patient and considerate. It doesn’t lean on either side about what is right or what is right to want. It’s presented as a thoughtful tale of the selfishness of love, but also on the staunch hold that beliefs and traditions can have on a culture. Sy’s direction is impeccable, diving us into Banel and Adama’s relationship right away, letting us experience their closeness, and their passion for one another before showing us that according to their traditions, these two lovers were never meant to be together, and that’s the obstacle they have to overcome. 

Banel & Adama’s love story is tragic because of the culture it is trapped in. Banel loves Adama, but she also needs him to escape a life she wants no part in. In the end, we see Banel finally make a choice for herself that may or may not have grave consequences, and it’s the ambiguity on the part of the director that leaves us wanting to know more. Did she escape? Did she win? Does love actually conquer all in the end or is it just there when we want it to be?

Banel & Adama is currently playing in select theaters courtesy of Kino Lorber.