Dakan begins with the most sexually explicit opening scene in African cinema. Rather than the usual rural landscape or urban panorama locating the characters in a recognizable social or geographical context, the camera focuses on an isolated couple locked in a clandestine embrace in a sports car at night. The shot becomes even more transgressive when we recognize the couple are two young men. When one of them later tells his mother he’s attracted to another man, she replies: “Since time began, it’s never happened. Boy’s don’t do that. That’s all there is to it.” Dakan thus becomes the story of two men who by “coming out” disappear, become invisible to their families and society, because their society has no language which recognizes their love.