Idrissa Ouedraogo’s Yam Daabo (1987), in which the child of a peasant family is killed in a traffic accident in the big city, and the same director’s Samba Traoré (1992), is about a prodigal son who returns to the village after having committed armed robbery in the capital. The movie combines the conflicts between tradition and change and the city versus the village into the life of a single character. The quality of life in the city is demonstrated in the rapid violent images that open the film. 　　It is worth noting, however, that usually the films do not set up tradition and modernity as two irreconcilable poles of an abstract dichotomy. Rather, the subject is depicted as a lived reality in a country whose urban centers form an integral part of global modernity, whereas the vast rural areas still largely adhere to tradition.

里约狂欢节期间，一位环卫工人深陷丧妹之痛与工作职责的拉扯。在满城欢庆中，他偶遇一名迷途孩童，由此踏上一段救赎之旅。

芬兰作曲家艾瑞克（Kari Väänänen 饰）圆满结束了在巴西里约热内卢的演出，正独自坐在Copacabana海滩享受无上惬意的休闲时光。温暖的阳光，蔚蓝的大海，更有穿着大胆身材火辣的拉丁美女穿梭身旁，实乃人间仙境。 　　艾瑞克邂逅了一位身着红裙的拉丁女子（Andrea Bloom 饰），她对艾瑞克柔声细语，却惹恼了她的男朋友（同时也是一个皮条客）鲁迪（Antonio Calloni 饰）。夜晚，艾瑞克和红衣女子穿梭里约热内卢的街头小巷，一面躲避鲁迪的追踪，一面享受狂欢节的欢快气氛。一切只为激情欲火，如梦如幻……