<![CDATA[<i>]]>Chef!<![CDATA[</i>]]> opens to images of people in traditional ceremonial robes and western-styled business suits heading towards a cultural exhibition of ancient tribal rhythms and dances, the road towards the event anachronistically demarcated by a large Fanta corporate sponsorship banner that frames the main entrance. The auspicious occasion is the unveiling of a monument in commemoration of Kamga Joseph II, the western-friendly ancestral chief of the village of Bandjoun (and ancestor of filmmaker Jean-Marie Téno), who ruled one of the largest villages in western Cameroon at the turn of the twentieth century.
An initial glimpse of this residual legacy that has contributed to a pervasive cultural anachronism that has undermined social progress is seen in the roadside capture by a vigilante mob on the morning after the celebration of a young chicken thief who, without the presence of Téno and his camera, would have undoubtedly been beaten to death. With the mob persuaded by a village elder to instead take the young boy to the village chief (who, in the meantime, has been forced to strip off his clothes before starting on his humiliating public march), the pattern of self-absolution, blind deference to authority, and inconsistent, open-ended justice continues when the chief is reluctant to personally sanction the boy's beating, and instead decides to send him to the police station, rationalizing that only the police are empowered to conduct such a beating with impunity.
Will be screened together with <filmlink id=\"2553\">Appunti per un'Orestiade africana</filmlink>.