Secção:
A Senegalese middle-aged man, unemployed, lives with his two wives and kids in Dakar. When he receives a money order from his son, working in Paris, bureaucratic problems arise in order to cash the money. Sembène turns his attention, for the first time, to the corruption of daily life in his country, fulfilling his dream to direct a film entirely spoken in his Wolof language. Despite censorship, the film received the international critics’ prize in Venice.
The simple life of a tomato tree that has finally fulfilled its mission. From all the attention it was given, a tomato was born – a single fruit. All the energy was consumed in the gestation of that life and it was time to harvest it, putting an end to a hope of abundance. (Margarida Moz)
noisy, atmosphere. Throughout the meal we discovered the various figures of the group, listened to their conversations and we can guess the connections between them. Toasts are made and congratulations are sung. At some point there are already those who sleep, who read, who date. The environment is increasingly fragmented. In the end there is only dirty dishes and silence.
Being at the table is a necessity for many. But describing a lifetime through a table is far more complicated. Fazenda, best known for his work in illustration, shows that it is possible to do it vigorously. Without dialogues and with a minimal chromatic quality, the film bets on Philippe Lenzini’s sound design, creating atmospheres to pay attention to the multiple stories brought about by the animation of Fazenda and that accumulate around this “Table”. (Miguel Valverde)
This is Sembène’s last film and the second of a planned trilogy about the heroism of the African woman. In a small Senegalese village, Collé Ardo, the second wife of a prosperous farmer, plans her daughter’s marriage. But suddenly, she decides to shelter four young girls that are trying to escape the “purification” ritual of female circumcision. Her attitude causes a conflict in the village, dividing the members of her community.
There are a handful of films whose representation of a truly New York experience includes an example of public urination: Kids, Frances Ha and also Moving. But the quintessence that this film captures is broader and an illustration of how any change – material or emotional – is the most difficult when done in solitude. Even if it’s as simple as pulling a mattress up a flight of stairs, if “you can make it there, you can make it anywhere”. (Ana Cabral Martins)
One day Sasha Svirsky receives an email from her galactic twin brother Galaction asking for help in the fight against evil in a nearby galaxy. First he thinks it’s spam. Then the adventure begins. A brilliant and fun animation, made of explosions of color and a strict chaos of images and rhythm. Seven minutes of pure pleasure. Will it be enough to save the world? (Carlota Gonçalves)
This film is not in English and does not have subtitles in English.
Nearly a decade after his last film, Sembène directs here the first of a planned trilogy about the daily heroism of the African woman. Faat Kiné is a single mum in a modern Dakar, full of contradictions and hopes of change. She lives with her two children, of two ex-husbands, having to deal not only with the social pressure of her condition, but also fight for the professional goals in a world dominated by the patriarchal condition.
This film is not in English and does not have subtitles in English.