Xala represents Senegal's post-colonial period, as the revolution is seen to come to an end in the opening sequence. Sembene believes that the French still have a ruling influence in Senegal, as the government officials speak French and wear tuxedos (as opposed to the opening sequence when they wear traditional clothing of Senegal as they overthrow the government). Sembene comments that the revolution has not had the outcomes that were promised to the civilians as they are seen to be physically removed and displaced.
The main plot of the film follows one government official, El Hadji, as he takes his third wife but fails to consumate his marriage. This is believed to be due to him refusing to a traditional part of the wedding ceremony, thinking it ridiculous and unnecessary.
The rest of the film follows El Hadji and the misfourtunes he endures.
Sembene uses El Hadji's wives to represent the different eras of Senegal. The first wife is traditional, older, and has learnt many life lessons. The second wife represents French-colonial rule and is fashion and money-focused, selfish and bossy. Lastly, the third wife is seldom seen in the film, but is representative of post-colonial Senegal and leaves the character and the era open to interpreation about how it will result.
Xala is a third-world cinema masterpiece as it deals with rife political issues through intelligent metaphors and interpretations. Many revolutions fail to bring about much change, only to redistribute the power to another group. This is the main social commentary Sembene makes throughout Xala, and as such it certainly makes for an interesting film.
