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Take the prison warden who, while holed up in his office, spies on the prisoners through a slit in the wall. The title for the film also comes from the French for “ Twelfth Night.” And in portraying the power struggle in the prison, Lacôte incorporates Shakespeare’s trademark for crafting offstage drama. “Night of the Kings” is also a nimble cinematic-theatrical hybrid whose central staging takes place in the prison’s aforementioned open living quarters, where transparent sheets hanging from the ceiling serve as the space’s minimalist set design. The set-up not only imbues the film with a sense of urgency, but also a feeling of eeriness, taking some cues from horror films-in every haunted house flick, the goal is always to survive till morning. If he finishes beforehand, he will be murdered. See, during “Night of Roman,” Roman must create and tell a story that’ll last until the red moon sets. When the inmates adorn Roman in a satin blue shirt, and guide him by candlelight procession through the dank prison halls to the jail’s open living quarters, Roman is initially unaware that he’s speaking for his life. Lacôte’s drama, in its conceit, borrows from the Arabian Nights folktales. Blackbeard, however, does have his eye upon the new arrival-and names the bewildered kid the new Roman. He never provides us with the young man’s name, or any exposition beyond the kid’s participation in the deadly Microbes gang led by the recently murdered kingpin Zama. Lacôte’s script isn’t very interested in either man. Though he’s an army officer, the jail’s warden-worn-down, sporting an opened camouflage shirt exposing his t-shirt and beer belly-isn’t much of a specimen either. Without an intervention he probably won’t make it longer than a couple days amongst the rabid prison population. Lacôte returns with an ambitious follow-up, the mystifying French-spoken “Night of the Kings,” a violent, hyper-masculine film that worships the power of storytelling.ĭressed in a yellow-black striped shirt and faded jeans, a young man (Bakary Koné) handcuffed to the flatbed of a pickup truck arrives at MACA. Five years ago, however, the country experienced a resurgence when Philippe Lacôte’s debut feature “Run,” a political resistance drama, premiered at the Cannes Film Festival in 2015, and became only the country’s second submission to the Academy Awards. The Ivory Coast, a tiny West African country with a population a hair above 25 million, has an unheralded cinematic tradition, one partially derailed by the government’s unrest during the mid-aughts.