以下(💳)□□(📏□于《度□年□男(🛴□二人□的相□信□:□he film □ccompanies Ma□□y□ Niyang, a□star of Touki-Bouki, a 1□72□cla□sic directe□□□□□□□r own uncle□Dj□bril □iop. Following□t□is□path, we ar□ w□tness of Niy□n□ □ravel to a special scree□ing of □he film, whic□ ha□ □ □ubli□ r□l□□□e in his old t□wn. □iyang□s□ems de□ached□and wit□ a he□□y longing fro□ t□e past□ and t□□refo□e, the film deb□is□p□rmeates ever□thing w□th□unescapable so□□ow □nd fasci□at□o□. □Di□p fi□m □s, f□□st and foremost, a no□talgi□ □rav□l through memo□y, □ime □nd recreation. It is □lso □ wat□rmark i□ c□ntemporary e□p□rime□□□l □oc□mentary, a very in□imate portrait of a l□s□ □ong jour□ey thr□ugh the□p□st □ha□ isn’□ returning anymore, a detachment of rejected□fa□e, recognition and connection which□is heavily□grounded on a□legacy th□t bel□ngs to the □ast, and t□□t c□n□ects directly □o a country (Senegal) and its□heritag□, wh□□h is some□imes □eel □□cru□ia□ing for the □ld ones (a□testimony□suc□ as the taxi scene in th□□film,□where the □ab□driver □ongs for ch□ng□s,□□n□ claims t□at the old generation □ad done □o□hing □or that). □Mille Solei□s□□A□□housa□d Suns) a□d, in itse□f, □a□i D□op’s cruc□al talent,□should b□ a po□nt o□ referen□e into what could e□□il□ be □n□ of th□ most int□r□s□□n□□prop□sals □f□hybrid□d□cumen□□□y cin□ma w□□ch has come f□o□ France, □nd □hi□h d□als wi□h □ stron□ Afric□n herit□ge. S□□ce 35□R□ums, where she proved her ac□ress□□a□e□t,□D□op s□e□s l□ke □ true p□omise for the follow□□g□year□ o□ c□n□ma.
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