Pule Diphare’s Fall of the Tomb tackles issues of migration, importance of historical artifacts such as sculptures and the erection of new sculptures to mark change in our society. In a closely internal viewing of the film as an artwork these aspects of our society can be looked upon as junctures in the discourse that the work erects within itself. Central to the delivery of the film’s discourse are the characters of Pule Diphare himself and his companion Bobo. They can be seen as vehicles through which the nature of our society is reflected upon and as the viewing progresses we see the changed life of the city through their interaction with people and the city’s localities as the shots changes from different locales. From Arcadia through to the city center near the state theater until the City Hall we see ordinary people going about their lives. We witness that there are a few white people who remain in the city. All these people as embodiments of our society closely interact with the changing nature of the city and its meaning to them.
There are certain instances whereby in analysing a visual art object one can simply commit a mistake by pitting that work against other artworks which, by some law of which one need not have to adhere to, seem to belong to the same category or genre. Such a viewing or a reading is problematic in that it delimits our independent viewing from making discoveries which can only be unearthed if that work was to be looked at in its own glory isolated from the accompaniment of other works which, if we are imbibed with an open mind, might even be proved to be inferior to it.