ZONE RAP

»Que la parole soit claire / la vie tient en deux jours / le jour de la nais­sance, le jour de la mort / Laiss­er sa cul­ture pour une autre c’est du sui­cide / Retourne toi sur ce monde, vois comme il est vio­lent / c’est la jungle / Y a des gens qui muti­lent leur prochain, / d’autres qui vio­lent, d’autres qui tuent. / Dieu n’est pas vio­lence. Atten­dons le juge­ment dernier. / Le Pays est dur dur / Sawan Bawan le rendra meilleur / en dansant le Hip-Hop…«
(Morceau de Rap – Sakha­p­a­ta Boys)

»Quand ils disent ‘peace’ ca ne veut pas dire ‘paix sur toi’ / quand ils disent ‘peace’ ca veut dire je pisse sur toi. / Méfie toi, ton ennemi n’est pas for­cé­ment celui que tu crois. / Non, où tu croi, tu sais quoi, le milieu il est pourri / par des imbé­ciles qui se font passés pour des messies. / Si tu es cool avec moi, je suis cool avec toi. / Tu fais le con avec moi, je te prouve que je suis plus con­scient que toi. / La con­ner­ie ca ne paie pas…« (Morceau de Rap – Pee Froiss)

JEF JEL

JEF JEL is a doc­u­men­tary about the Islam­ic con­fed­er­a­tion of the Mourides in Sene­gal. Trav­el­ling from Dakar to Touba, where the move­ment was born, dis­ci­ples bear wit­ness to their reli­gion. »The Bayes Falls, these mys­tics orga­nized in a rigid­ly reg­u­lat­ed soci­ety, are for Moussa Sène Absa the guardians of a nobil­i­ty of soul and charc­ter that are today almost for­got­ten in Sene­gal. And with his camera at neck level or on the ground, he invites the audi­ance to pen­e­trate their closed world, to follow in their calm foot­steps and to take part in lively dis­cus­sions (…). The mes­sage of JEF JEL is rather to sug­gest what ani­mates the com­mu­ni­ty of the Bayes Falls than to really show who they are. Being at home in their world, Moussa Sene Absa espous­es their cause, mul­ti­ply­ing his view­points to cap­ture their chang­ing facets.«
(Michel Amarger)

LE FRANC

»Marigo dreams about his instru­ment, the Con­go­ma, con­fis­cat­ed by his ill-natured land­la­dy because of his rent depts. To get it back he buys a lot­tery ticket, a pre­cious doc­u­ment which he pasts on his door, in order not to be dis­cov­ered. And as fate decides the number wins! But how vexing: Marigo has pasted the ticket with too much pro­found­ness on the door, which he final­ly has to tear off its hinges to carry it on his head to the book­ing office of the state lot­tery. But there is yet anoth­er obsta­cle: Indeed, he has won the big prize, but the con­trol number indis­pens­able for being paid is on the back of the pasted ticket. So, the ticket must get off, but in such a way, that the con­trol number will not be dam­aged. Then, Marigo has a great idea. Sit­ting on a stone at the ocean he lets the waves caress his valu­able door. The sea on the west­coast of the Atlantic can be cruel at night. Good luck, Marigo. Musi­cian and martyr.«
(Djib­ril Diop Mambéty)

LA PETITE VENDEUSE DE SOLEIL

»Sell­ing news­pa­pers in the streets of Dakar had always been the pre­serve of the city’s boys. Sili, a little girl, lives on the streets and moves with the help of two crutch­es. She lingers close to the boys who sell news­pa­pers and begs. This morn­ing the boys jos­tled her and she fell on the asphalt. She found her crutch­es sev­er­al meters away. In order to pick her­self up, she had to gather all her strength and she decid­ed to start sell­ing news­pa­pers like all the others. Equal rights for men and women. But the small uni­verse of news­pa­per boys is mer­ci­less. She is con­front­ed with pain and with dreams… final­ly she also encoun­ters friend­ship. The story is an ‘homage’ to the courage of the street children.«
(Djib­ril Diop Mambéty)

Djib­ril Diop Mam­bé­ty, Films: CONTRAS-CITY (1968); BADOU BOY (1970); TOUKI BOUKI (1973); PARLONS GRAND-MÈRE (1989); HYÈNES (1992); LE FRANC (1994); LA PETITE VENDEUSE DE SOLEIL (1998)

TOUKI BOUKI

Bring­ing his cows to the sloughter-house, cowherd Mory meets the stu­dent Anta. Togeth­er they dream to go to France to get pros­per­ous and they try to get the money for the trip. After some ups and downs they find them­selves on a ship going to France. But then Mory refus­es to make the last step. Real­iz­ing that their dream was only an illu­sion, he wants to stay…

BADOU BOY

Comedy about a little boy in the streets of Dakar, per­se­cut­ed by a stout police man. But the film is also a crit­i­cal expo­sure of some aspects of life in Dakar.

CONTRAS-CITY

An amus­ing glance at Dakar, its dif­fer­ent mon­u­ments and cos­mopoli­tan quar­ters, result of the numer­ous colo­nial­is­tic peri­ods that built the city. »I regard­ed the dif­fer­ences direct­ly around me and I found it very amus­ing that this city shows the trace of the var­i­ous colo­nial­is­tic set­tle­ments. For exam­ple I found it very funny that there is a cathe­dral in a Sudanese style, a cham­ber of com­merce look­ing like a the­atre but a the­atre that looks like a block of coun­cil flats: all those esthet­i­cal con­trasts made me amuse.«
(Djib­ril Diop Mambéty)

Jom

No Eng­lish trans­la­tion available.