Vids Movies 
Apple TV 4K
Google Play Movies 4K
Fandango At Home 4K
Apple TV HD
Amazon Video HD
YouTube HD
37 Views
Africa Addio
A documentary about the end of the colonial era in Africa, portraying acts of animal poaching, violence, executions, and tribal slaughter.
Year: 1966
Genre: Documentary, Horror
Studio: Cineriz
Director: Gualtiero Jacopetti, Franco Prosperi
Cast: Sergio Rossi, Jomo Kenyatta, Gualtiero Jacopetti, Julius Nyerere, Moïse Kapenda Tshombe, Richard Gordon Turnbull
Crew: Gualtiero Jacopetti (Director), Franco Prosperi (Director), Clara Mattei (Assistant Editor), Oria Santi (Thanks), Franco Prosperi (Editor), Romano Federici (Thanks)
Runtime: 138 minutes
Release: Feb 11, 1966
IMDb: 6.30/10 by 37 users
Popularity: 4
Country: Italy
Language: Italiano
Budget: 0
Revenue: 0
Comment
Similar Movies
AFRICA ADDIO (1966) is a difficult work to evaluate. Released at a time when most major media resources were focused on the Vietnam War, co-directors Gualtiero Jacopetti and Franco Prosperi were among a very, very small group of people documenting the unrest which accompanied the decolonization of Africa. More than 50 years after its release, this is still a brutally graphic film: human death is captured on camera, up-close and unsimulated; hippopotami and elephants are attacked with spears until they resemble living pin-cushions, only expiring after suffering prolonged and agonizing brutality; human remains litter rural fields and city streets like so much discarded waste. There are several scenes where the audio appears to be altered to present the on-screen activity in a manipulated context, which was a technique employed in both MONDO CANE (1962) and MONDO CANE 2 (1963). Charges that the filmmakers were actually complicit in staging some of the death scenes led to a court case in Italy, where they were eventually acquitted. But being critical of a mondo movie for employing deception is like being critical of a baker for employing yeast; it's one of the tools at the creators' disposal. Understanding that the mondo genre in general was more concerned with titilation and shock than in absolute narrative truth will go a long way in explaining why Jacopetti and Prosperi may have felt the need to alter already potent footage: they weren't aspiring documentarians, but rather talented grindhouse purveyors who found themselves in the right place at the right time.