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1-18 of 18
- The man is seated in the compartment. Alone, he speaks to Lise through his memory. He goes towards the sea. It's the goal of the travel. Despite Lise not being there, despite her death, he sees her, he is with her.
- The well-known saxophonist Manu Dibango comes back to Cameroon, his native country, and tells us his story: in a way, the story of a happy colonized man. Béatrice Soulé restores for us with happiness Manu's childhood memories, the sweetness of the village, and the kind presence of the tribe during the first years, before the departure in metropolis. Then, the director becomes the musician's fellow and focuses on his music career and the colonial life of his country thanks to significant historic documents. Manu, conscious of being protected by his talent is not commented. All the African subtlety is expressed in the musician's eloquent silences as well as in the sophisticated simplicity of his music that we have the pleasure to hear throughout the film.
- Portrait of Doudou N'Diaye Rose, drum leader in Dakar, of his small house, his friends, his country and... his drum. He describes the origins of rhythm in Senegal and in all Africa, the virtues of drum. We see him gathering one hundred drum players to play in the National Orchestra of Senegal. The film ends in Nancy where Doudou receives a warm welcome.
- Youssou N'Dour is a real prince in the Senegal. His success today did not come by chance. For more than fifteen years he has been singing in clubs and in stadiums, in evening performances and in concerts. He goes all over the world, sharing his talent with artists as famous as Ryuichi Sakamoto, Stevie Wonder or Peter Gabriel. He sings as he breathes, inspired by an inner force which arises out of his incredibly wide experience, but also from the human richness of his country, that of a respect for tradition, family values and the sharing of things in common.
- During two years, until December 1992, Notre-Dame's magnificent organ, originally installed in 1868, was silent, undergoing total restoration. Eight thousand organ pipes, over one hundred organ stops and the organ keyboard, all had to be lowered and removed from the cathedral for cleaning. Nine hundred wooden organ pipes were dismantled inside the cathedral, then cleaned and rebuilt in a makeshift workshop in a tower of the cathedral. Behind the facts and figures lies a human story, the story of a team of craftsmen working together.
- The film is a love story between a man and his sculptures, between a man and a woman, and between a man and a branch of humanity. The director has focused on the artist's work, filming and throwing into relief Ousmane Sow's four series of sculptures : the Masaï, the Nubians, the Zulus and the Fulani. Béatrice Soulé writes to Ousmane Sow. Ousmane Sow replies to her letter without really answering it. We are confronted with and inner voice, a chorus of two voices. This intimacy, this shared confidence, creates a special magic which allows us to follow the artist in his most secret creative endeavor : in a dizzying instant of great tension and yet of infinite gentleness, the camera captures for us the precise moment when a face emerges. And we become intensely aware of the presence of the man whose mystery Béatrice Soulé has wished to respect. We know nothing and yet we know everything. We have seen noting but we have seen all.
- This film is the result of a passion shared between Béatrice Soulé and Eric Serra, music composer of The Big Blue, for the exceptional talent of Doudou N'Diaye Rose, percussionist and rhythm teacher at the National Art Institute of Dakar. It was crucial for them to keep a track of the rhythm of the major drum leader of Senegal and they organized in the Island of Gnor a concert that this film restores us. Under the small amphitheater made of stone, the great virtuoso give us to see and listen to a great moment of joy because Doudou N'Diaye Rose dances as much as he drums. And for the fifty percussionists and one hundred members of the Julien Jouge's church choir, this is also the celebration of the bodies.
- For more than a year now, Béatrice Soulé has been filming the progress of "The Battle of Little Big Horn", Ousmane Sow's new sculpture. Just as she filmed the rebirth of the four Indian chiefs who triumphed over General Custer's Seventh Cavalry, she also filmed the materials and the tiles of the house Sow recently had built in Dakar. This house, which he considers a work in its own right, takes the symbolic form of a sphinx. For the Dakar exhibition, Soulé went from a private to public vision, from close-up to general shot, as she filmed the transport of the works, their installation, and their departure for the "Pont des Arts" in Paris to join the Noubas, Masaïs, Zulus and Peuls.