千阳

　　The /fi`%lm acc/,ompanies @]Magaye;_ Niyang, a ;star of To^uki- Bouki,; a 1972 classic directed by -/her own un

`cle Dj/.ibri[l *)Diop. *`Following this path
), %!we are ()wi;tness o:![f Niyang travel to a!^\ speci a+l scr eening]? of the film, which has_ (+ a public release in his o ld town.^? Niy!ang seems .det ])$ache#+d ; and with %(a heavy lo ng:@i ng f@rom the pa$)_st, and/$ +therefore, the fil( m?[)
deb#@ris permeat=es everything w
):%ith un!$@escapable)+] s_`)orrow and=( [ fascination.　　*!%+Dio^ ]-p f;
ilm is,  f [;irst +$_=a=(nd fore+$`m.:_.ost, a nos
==talgic travel through @?memory,(., time,^ a nd recre+\ation. I
$t is a`=l.) so. a watermark in contem=*porary e.@xperiment(al` doc/\_`um@en/_tary,*? a very int?\imate portra:it of ;+?.a lo#;_.st lo=# ?ng# jour#`n -?ey through [the?\ pas@t t#hat isn’t( returning anymor=#e, a d]_etachme+nt!$* of rejec\^#te),=d fame@-%, re#_cog [nition an d conn+=ection which , is heavily g[rou_nd*ed on a lega#cy t;*_hat belongs to the past, and t.hat c`@onnects!+ ^direct:#l(y to a co,^\\untry (Seneg ^al) and its heritage,% which is sometimes% feel excruciati]ng

for the old ones (a testimony such as the taxi scene%` in th^e film, [\where#, the c+]ab dr[iver longs for +change -`= s, and ^.c laims ]]tha#t the old generation  + had d$o _ne !=?noth,+ing ;fo!%+=r t/[%hat)].　　=Mille Sole*ils (A Th,, ousand=* %Suns) and, in itself, Mati Diop’s
^. crucial talent, shoul\d /,:be a ;/`point of reference *into +];#wh,at could %;eas*+ily be one  of th[e most interesting propos@,als] of h ?ybri:d docu)^me`nt?\ary c=-inema whic ;#h has c\? o?me fro:m France, and which de!-(a%!^_ls with a strong African?- heritage._. Since 35 Rhums, where]% she ;]pro+=ved= h+
er actress tal$_!ent, D*  iop( see`[)ms]^ like a true]* pro/+mise for `the ,@follow+#in
g ye
ars of@
* cin+! ema.