The best New Wave French Senegalese movie ever

Djibril Diop Mombety's totally odd film, Touki Bouki (1973) clearly stands as the best example of New Wave French cinema to come out of Senegal, though I'm not sure there's a lot of competition for that laurel. This film that on the surface is about a college-age couple trying to flee the poverty and isolatoin of their Senegalese village, travel to the capital, Dakar, and embark via ship for Paris, is actually an improbable and sometimes surreal romp through Senegal in the style of Godard - full of quick jujmp cuts, plot oddities and impossibilities, appended political commentary, and a touch of surrealism. Many, in fact most, of the scenes are visually striking: the ghastly slaughter of cattle at the opening (as well as slaughter of goats and I think a pig), the scary scenes in which the woman stares for minutes at the crashing ocean waves and she (and we?) keep expecting a body to wash up against the rocks, the wrestling match in the arena w/ a great look at the crowd dressed in bright African finery, the dusty marketplaces and the scene with the card sharp, the travels by bicycle (replete with steers horns attached to the handlebars) across the flat landscape, stealing the boxes from the sleeping soldier and the scene in which the taxi driver carries one of the boxes to an abandoned construction site and is shocked by what's in the box, the couple stealing all the clothing from the wealthy gay big shot/politician (and his call to the police), even and maybe especially the scenes of industrial Dakar with the ship at dock ready for departure for France. The film makes no sense if you try to make sense of it - it's best appreciated as a viewpoint into a nation few westerners will ever know or experience and as a visual romp - in other words, both a travelog and a road movie, but a movie that take no genre too seriously and that eschews the conventions of plot and even of character (we really don't know much about the background or personality of either of the two leads) and that takes some risks - some long scenes, some really bumpy scenes on which most directors would have used a steady-cam - and takes great pleasure in finding odd locations and moments of local color and culture along its way.