A series of related but discrete vignettes transpire over the course of a brief, minute runtime, as Zampaulo also indulges in elements of the diary film, travelogues, and what are presumably documentary interludes of performance and history. Here, a woman cleaning her small home, a man commuting to work on a crowded bus, and a tourist wandering the city are given equal weight, like a gathering of potential narratives. These inserts of a woman in a bright white dress with a billowing train become a kind of poetic punctuation, a dash of the unfamiliar that renders the cityscape just a little stranger.
Of course, this kind of structural gambit — eschewing narrative for a kind of free-form polyphony — means that some moments are more compelling than others. A modernist dance piece performed in various locales and obscured by blurry camera filters is cut too fast to make much of an impression, and a loud shouting match between a woman and her cheating husband quickly becomes interminable.
More compelling is a brief tour of a mural that introduces audiences to notable citizens like journalist and poet Jose Craveirinha, poet Noemia de Sousa affiliated with the anti-colonialist literacy movement Mocambicanidade , and poet Rui de Noronha, as well as the remnants of Portuguese forts and armaments.
All in all, while intriguing, Maputo Nakuzandza feels a little slight. Comments are closed. We use cookies on our website to give you the most relevant experience by remembering your preferences on repeat visits.
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