In Dakar: two-day film screenings at Skalvija cinema
Laurence Attali, La Trilogie es Amours, 1999-2004
Monday, October 11, 2021, 6 pm
Laurence Attali, Même le vent... (Even The Wind), 1999
A taxi driver wearing a boubou and blue glasses speeds through the streets of Dakar. Next to him, a young girl reads the newspaper, indifferent to the outside world. In the old taxi without a windscreen, a "made in Moscow" meter counts irregular units. A golden saxophone slides across the back seat. The driver avoids all obstacles and the girl remains impassive. Then he breaks the silence: I can see even the wind crossing.
Laurence Attali, Baobab, 2000
It all started with a dream: "It's time for you to try to explain the mysteries! Find the griot who'll bring you to me, and when you recognize me, circle around me three times, rub me with buttermilk, and let me know what you want. But be careful: don't forget the buttermilk!" That's how I was drawn into the boabab's spirit. It was in the year 2000. The year of the "Sopi". If the boabab was Senegal's emblem, through the tree, I should understand the country.
Laurence Attali, La déchaussé (Barefoot Man), 2004
Everything started at the "bistrot du phare", during Booz's concert. Ben, the trumpet player dies onstage. The next day, his wife Esther plants the trumpet on Ben's grave and takes Booz's hand: "Now you must take care of me".
Djibril Diop Mambéty, Touki Bouki, 1973
Tuesday, October 12, 2021, 7:30 pm
With a stunning mix of the surreal and the naturalistic, Djibril Diop Mambéty paints a fractured portrait of the disenchantment of postindependence Senegal in the early 1970s. In this picaresque fantasy drama, the disaffected young lovers Anta and Mory, fed up with Dakar, long to escape to the glamour and comforts they imagine France has to offer, but their plan is confounded by obstacles both practical and mystical. Alternately manic and meditative, Touki Bouki has an avant-garde sensibility characterized by vivid imagery, bleak humor, unconventional editing, and jagged soundscapes, and it demonstrates Mambéty’s commitment to telling African stories in new ways. – Criterion Collection