feature, Yam Daabo ("The Choice"; 1986) was well received, and focuses on a rural family's decision to remain reliant on aid or to move location and become self-sufficient. His first film to receive greater distribution was Yaaba ("Grandmother"), which won awards at festivals, including the FIPRESCI Prize at Cannes, and was shown around the world, popular because of its beauty and simplicity. Despite its popularity, critics felt the Yaaba lacked the critical insight into the serious issues that affected village life. His next film Tilaï ("A Question of Honour") won the Grand Prix at the 1990 Cannes Film Festival. Centered around a moment of change in the Mòoré culture, where the lives of the children of a family are torn apart by the unwavering adherence to tradition in a rapidly transforming modern world. The success of both Yam Daabo and Tilaï placed pressure on Ouédraogo to produce another international success, and his next film Karim and Sala was rushed to be shown at the 12th Panafrican Film and Television Festival of Ouagadougou (FESPACO) and was not well received and suffered from poor distribution. Samba Traoré (1993), returns to the themes of rural versus city life, tradition against change and was well received, being nominated for the Silver Bear at the 43rd Berlin International Film Festival. Ouédraogo followed Samba Traoré with The Heart's Cry (Le Cri du cœur; 1994), Kini and Adams (1997), Anger of the Gods (La Colère des dieux; 2003) and Kato Kato (2006). Ouédraogo's output has been criticised as being too focused on appealing to audiences in Africa and the West. Françoise Pfaff names Ouédraogo, amongst a group of African directors, as a storyteller who has a predilection for filming shots of atypical African rural scenes, such as "monotonous images of women pounding millet or corn". Pfaff's view is that Ouédraogo's work is too focused on non-African audiences and alienates African viewers. In defence, Sharon A. Russell argues that Ouédraogo must always consider the needs of a director who wishes to keep filming in Africa, and that funding for the next film is a priority and that he is a talented person making films under difficult circumstances. Later life and death In February 2015, Ouédraogo announced shortly before the opening of the 24th Panafrican Film and Television Festival of Ouagadougou (FESPACO) his desire to direct "an important film" on foreign colonization of the African continent, the anti-colonial struggle