No English translation available.
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.
En résidence surveillée
No English translation available.