Mamadou Sarr

This film is widely regarded as the first film made by an African south of the Sahara. Labelled an “ethnological documentary in reverse,” it shows 1950s Paris from the cinematic perspective of a group of African immigrants. (Mubi)

It is an ordinary afternoon for young Mabo Keïta, at home, in Burkina Faso (West Africa). While his parents are taking a nap, he reads a schoolbook on the front porch when a stranger - an elderly man carrying his own hammock - appears for an unexpected visit. It turns out that the old man is a griot, a West African musician/entertainer whose performances include tribal histories and genealogies. The position of a griot is a time-honored one and passed down from father to son for many generations.

El Hadji Abdou Kader Beye, homme d'affaires sénégalais quinquagénaire, prend une troisième épouse, signe de réussite sociale et économique surtout. Selon la tradition musulmane, il a les moyens financiers pour assurer un train de vie luxueux à ses trois femmes, chacune a sa villa. Le soir, impossible de consommer son union, il est frappé d'impuissance. Il se croit victime d'une malédiction, le xala, lancée par un paysan qu'il avait autrefois ruiné. El Hadji, humilié, consulte les marabouts.

El Hadji Abdou Kader Beye, homme d'affaires sénégalais quinquagénaire, prend une troisième épouse, signe de réussite sociale et économique surtout. Selon la tradition musulmane, il a les moyens financiers pour assurer un train de vie luxueux à ses trois femmes, chacune a sa villa. Le soir, impossible de consommer son union, il est frappé d'impuissance. Il se croit victime d'une malédiction, le xala, lancée par un paysan qu'il avait autrefois ruiné. El Hadji, humilié, consulte les marabouts.

This film is widely regarded as the first film made by an African south of the Sahara. Labelled an “ethnological documentary in reverse,” it shows 1950s Paris from the cinematic perspective of a group of African immigrants. (Mubi)

This film is widely regarded as the first film made by an African south of the Sahara. Labelled an “ethnological documentary in reverse,” it shows 1950s Paris from the cinematic perspective of a group of African immigrants. (Mubi)