#Moustapha Fall

[moviemosaics]

Io Capitano

directed by Matteo Garrone, 2023

[bob-the-movie-man-film-reviews]

Io Capitano (15): The Painful Journey to a "Better Life".

#onemannsmovies #filmreview of "Io Capitano". #IoCapitano. A superb telling of a gruelling people trafficking story. 4.5/5.

A One Mann���s Movies review of “Io Capitano” (2024). Italy’s nomination for last year’s International Film Oscar, “Io Capitano” is as topical as hell in charting the perils faced by African migrants in trying to reach Europe, lured by the promise of a “better life” (as seen on Youtube, Tiktok, etc!) Bob the Movie Man Rating: Plot Summary: Seydou (Seydou Sarr) lives in the Senegalese capital…

[movienized-com]

Io capitano

Io capitano (2023) #MatteoGarrone #SeydouSarr #MoustaphaFall #IssakaSawadogo #HichemYacoubi #DoodouSagna Mehr auf:

Ich Capitano / Me Captain Jahr: 2023 Genre: Drama Regie: Matteo Garrone Hauptrollen: Seydou Sarr, Moustapha Fall, Issaka Sawadogo, Hichem Yacoubi, Doodou Sagna, Ndeye Khady Sy, Venus Gueye, Oumar Diaw, Joe Lassana, Mamadou Sani, Bamar Kane, Beatrice Gnonko, Flaure B.B. Kabore … Filmbeschreibung: Seydou (Seydou Sarr) und Moussa (Moustapha Fall) träumen davon, als Musiker zu Geld und Ruhm zu…

[randomrichards]

IO CAPITANO:

Cousins from Dakar

Gruelling journey to Venice

runs refugee ship

[vivianedanglars]

IO CAPITANO (Soundtrack) - "TOUKI" ● Andrea Farri (feat. Seydou Sarr and...

[cinemedios]

"Io Capitano", un retrato cercano y crudo que va más allá de la migración

En "Io Capitano" veremos más que migración, los sueños y la familia son lo más importante.

Si hay algo claro para la raza humana es que contar con una meta es indispensable, así sea algo meramente común o extraordinario significa un impulso necesario para afrontar la vida, y muchas veces para sobrellevar adversidades; justo eso es lo que pasa en la cinta “Io Capitano” del cineasta italiano Matteo Garrone, una película de reflexión ante una acción cotidiana: la migración. Nuestros…

[therunwayarchive]

Alyssa Sardine & Moustapha Sy at Wooyoungmi, Fall 2022

[whileiamdying]

Review: Three Revolutionary Films by Ousmane Sembène on Criterion Blu-ray

Together, these films constitute a complex, interlocking portrait of Senegal’s past and present.

by Derek Smith May 30, 2024

Where Ousmane Sembène’s first two films, 1966’s Black Girl and 1968’s Mandabi, each focus on myriad struggles faced by an individual during Senegal’s early post-colonial years, his follow-up, Emitai, takes a more expansive view of the effects of colonialism two decades earlier. Centering on the defiance of a Diola tribe during World War II, 1971’s Emitai sacrifices none of the immediacy and urgency of Black Girl and Mandabi. Indeed, the film is perhaps an even more damning and incisive take-down of French colonial rule.

Painting a concise and pointed portrait of oppression in broad, revolutionary strokes, Emitai exposes the modern form of slavery that was France’s conscription of Senegalese men to fight on the deadliest frontlines of European battlegrounds. The film simultaneously details the meticulous taxation methods the French employed during this period, which, in attempting to seize a majority of tribes’ rice supply to feed their troops, is tantamount to starvation warfare.

Sembène, however, is less interested in the methodologies of the oppressor than in the unwavering, often silent protest of the Diola people, especially women, in the face of forces that threaten to wipe out the rituals and traditions that define them. In depicting the tribe’s refusal to turn over their rice not as a means to avoid starvation but as a matter of preserving the central value rice has in their cultural heritage, Sembène adds new dimensions to the conflict and complexity to the resistance of the villagers. The inevitable tragedy that concludes the film is quite the gut-punch, but in counterbalancing it with the rebellious enacting of funereal rites by the village women, Emitai becomes equal parts an indictment of colonial violence and a celebration of resilience and self-empowerment through revolutionary means.

In 1975’s Xala, Sembène presents a searing, often hilarious satire of the greed, corruption, and impotence of the new Senegalese governmental leadership following the eradication of French colonial rule. In the opening scene, we see government officials throw out the current French leaders and proudly proclaim that Africa will take back what’s theirs. This moment of triumph, which includes the removal of statues and busts of various French leaders, is swiftly undercut when the Senegalese officials each open a briefcase packed to the brim with 500 Franc bills.

This sequence, laden with anger and biting humor, is indicative of Xala’s absurdist, comedic tone. And as the film shifts its focus to one corrupt official in particular, El Hadji (Thierno Leye), who upon marrying his third wife is cursed with impotence, its satire becomes more metaphorical than direct. Sembène uses El Hadji’s gradual downfall to reflect the moral and political failings of the entire bourgeois class that came into power under the government of President Léopold Sédar Senghor. Through Sembène’s sly, cutting use of irony, claims of modernity and equality under a new “revolutionary socialism” are revealed to be empty promises, barely concealing the anti-feminist and pro-capitalist motives lurking behind them.

Sembène’s critique of a supposedly freed Senegal is intensely savage when it comes to unveiling the hypocrisies of a patriarchal leadership that betrayed the trust of the people it was supposed to aid and protect. Building to a conclusion that’s as funny and gratifying as it is pitiful and physically revolting, Xala captures the continuing repercussions of colonialism and how the forced delusions of a nation would leave its people perversely feeding on one another.

With 1977’s Ceddo, set in Senegal’s distant pre-colonial past, Sembène follows the conflicts between a growing Islamist faction of a once animistic tribe and the Ceddo, or outsiders, who refuse to convert and give up their animistic rituals and beliefs. This is certainly the most didactic entry in this set, but it’s enlivened by the sheer precision of its dialectical oppositions, through which the many hypocrisies of religious fundamentalism and colonization are laid bare.

Ceddo also reveals the complex intersectionality of religions and cultures that were at play in Senegal long before its colonization. Along with the Muslims, who were attempting to seize political power through religious conversions, white Christians and Catholics are present in the form of priests, missionaries, gun runners, and slave traders. The latter are silent through much of the film, but their presence—much like the white French adviser who remains in constant contact with the Senegalese politicians in Xala—speaks to the monumental power and influence whites held in Senegal even before colonialist rulers took over.

While the film’s subject is historical, Sembène draws clear parallels between the past and the post-colonial present of 1977, with the condescending paternalism of the Muslims, particularly the power-hungry imam played by Alioune Fall, mirroring that of the colonialist French. And rather than using traditional Senegalese music, Sembène employed Cameroonian musician Manu Dibango to compose a jazz-funk score that even further connects the events in Ceddo to the time of its release in the late ’70s. For whenever Sembène sets his film, he’s steadfast in his mission to draw meaningful correlations between Senegal’s past and present—each equally integral to the story of the country he loved and helped to define.

Image/Sound

All three transfers come from new 4K digital restorations and they, by and large, look terrific, with vibrant colors and rich details, especially in the costumes and extreme close-ups of faces. There are some shots where the grain is chunkier and the image isn’t quite as sharp, and the Ceddo transfer shows some noticeable signs of damage in several different scenes, but these are mostly minor, non-distracting imperfections. The mono audio track bears the limitations of the production conditions, so some of the dialogue in interior scenes is a bit echoey though still fairly clear. Meanwhile, the music comes through with a surprising robustness.

Extras

A new conversation between Mahen Bonetti, founder and executive director of the African Film Festival, and writer Amy Sall covers a lot of ground in 40 minutes. The two discuss Ousmane Sembène’s early career and discovery in the West before delving into his use of cinema as “a liberatory force” and his sly, caustic use of irony. The only other extra on the disc is a 1981 short documentary by Paulin Soumanou Vieyra in which Sembène espouses much of his philosophy of filmmaking, particularly the importance of understanding history and political complexities of the society one chooses to depict. (Amusingly, Sembène’s wife casually insults American moviegoers, as well as complains about her husband putting film before family.) The stunningly designed package also comes with a 26-page bound booklet containing an essay by film scholar Yasmina Rice, who touches on Sembène’s humor, feminism, and politically charged subjects, while forcefully pushing back against the notion that the director wasn’t much of a formalist.

Overall

These Ousmane Sembène films from 1970s brim with a revolutionary passion and, together, constitute a complex, interlocking portrait of Senegal’s past and present.

Score

⭐️⭐️⭐️⭐️⭐️

Cast

Andongo Diabon, Michel Renaudeau, Robert Fontaine, Ousmane Camara, Ibou Camara, Abdoulaye Diallo, Alphonse Diatta, Pierre Blanchard, Cherif Tamba, Fode Cambay, Etienne Mané, Joseph Diatta, Dji Niassebaron , Antio Bassene, M’Bissine Thérèse Diop, Thierno Leye, Seune Samb, Younouss Seye, Miriam Niang, Fatim Diagne, Dieynaba Niang, Makhourédia Guèye, Tabara Ndiaye, Alioune Fall, Moustapha Yade, Mamadou N’Diaye Diagne, Nar Sene, Mamadou Dioum, Oumar Gueye.

[ruthmedia2]

Io Capitano (15)

Io Capitano (15) Director: Matteo Garrone Runtime: 2hr2min Cast: Moustapha Fall Seydou Sarr, Issaka Sawadogo, Bamar Kane, Afif Ben Badra, Hichem Yacoubi, Oumar Diaw, Princess Erika, Mariam Kaba, Observateur Ebène Synopsis: IO CAPITANO tells the story of the adventurous journey of Seydou and Moussa, two young men who leave Dakar to make their way to Europe. A contemporary Odyssey through the…

[yosoyloqueveo]

Io Capitano | dir. Matteo Garrone, 2023.

Seydou, a teenage boy, together with his cousin Moussa, decides to leave Dakar in Senegal and make his way to Europe. A contemporary Odyssey through the dangers of the desert, the horrors of the detention centers in Libya and the perils of the sea.

I was deeply moved by the immense courage and humanity, the cinematography and costumes. Outstanding.

"Over the last 15 years, 27,000 people have died trying to make the journey that I show in the movie," explains the filmmaker. "We wanted to give a visual form to a part of the journey we don't see."

“...I was honestly very worried about this movie, and it took eight years to decide to make it," Garrone says. "I was worried about the risk of speculating too much and exploiting these poor migrants by making their journey about, and from, my point of view."

- Garrone.

"The first thing apparent to anyone who meets Matteo Garrone is his intrinsic kindness.

When asked if the story is inspired by real events, Garrone answers, “yes of course, have you met Mamadou?” referring to Mamadou Kouassi Pli Adama, who is listed as one of the “collaborating writers” on Io Capitano, and has joined Garrone, actors Sarr and Moustapha Fall in Marrakech. “He’s one of the three guys who inspired the movie with his life and his experience,” Garrone explains, continuing “every frame of the movie is connected with some real story, of someone who really lived that experience.”

“Behind these numbers are human beings,” Garrone continues on the thought above, “human beings who are exactly like us, with the same desires — to move, to look for a better life, to discover the world.” Like looking in a mirror really. Only that mirror holds up the similarity of the power of humanity, not the reflection of our different skin tones. And what that entails, as far as privilege.

- E Nina Rothe

Io Capitano premiered at the 80th Venice Film Festival, where Garrone was awarded the Silver Lion for Best Director and Sarr won the Marcello Mastroianni Award for Best Young Actor. Now, the film is nominated for Best International Feature Film at the 96th Oscars, which Garrone tells A.frame has made him "incredibly proud." | AFrame Article

Images:

The New Yorker

E NINA ROTHE

Kang diego | kang_junior64

EdisonFilmHub

[byneddiedingo]

Thierno Ndiaye and Mame Ndoumbé Diop in Guelwaar (Ousmane Sembene, 1992)

Cast: Thierno Ndiaye, Mame Ndoumbe Diop, Omar Seck, Ndiawar Diop, Marie Augustine Diatta, Moustapha Diop, Babacar Faye, Sadara Mbaye. Screenplay: Ousmane Sembene. Cinematography: Dominique Gentil. Film editing: Marie-Aimée Debril. Music: Baaba Mal. 

The protagonist of Ousmane Sembene's sharply ironic tragicomedy Guelwaar is postcolonial Africa itself, viewed with a mixture of hope and frustration like that of the Europeanized Barthelemy (Nidiawar Diop) in the film, who often utters an exasperated "Africa!" when he encounters bureaucratic and cultural roadblocks in his attempt to bury his father. Actually, Barthelemy is trying to re-bury his father, Pierre Henri Thioune (Thierno Ndiaye), a political activist called by his followers "Guelwaar" (noble one), who died following a beating by political opponents. His body was mistakenly removed from the morgue and buried in a Muslim cemetery. Although Pierre Henri was a Catholic, the heads of the Muslim community don't want the grave disturbed to verify the identity of the corpse. The expatriate Barthelemy is not the best person to handle the problem, attracting suspicion from the authorities because he has become a French citizen, but he's the only member of the family capable of taking charge: His widowed mother, Nogoy Marie (Mame Ndoumbé Diop), is prostrate with grief; his sister, Sophie (Marie Augustine Diatta), is a sex worker in Dakar, and hence something of an outcast; and his younger brother, Alois (Moustapha Diop), is handicapped, crippled after a fall from a tree. Tensions build between Catholics and Muslims, and ultimately troops are called in by the area's representative in the legislature to keep violence from breaking out. Sembene tells the story beautifully, if occasionally resorting to the kind of blatant expository dialogue and didactic commentary aimed at his audience. Pierre Henri's radical politics center on an issue that reminds us how the causes of both right and left can sometimes converge: foreign aid to developing counties. He opposes the shipments of supposedly humanitarian aid such as food to his country, seeing it a tool used by foreign governments to gain influence, a cause of corruption in the government that distributes it, and a hindrance to the growth of a self-sustaining Africa. Sembene clearly endorses that view when, at the very end of the film, the young followers of the Guelwaar tear open the bags of rice and flour and the procession of carts carrying the funeral entourage drives over the spillage in an ironic triumph. With its keen portrayal of religious tensions, corruption, bureaucracy, and economic hardship, Guelwaar is a fine satiric blend of humor and pain, one of Sembene's best films.

[lemagcinema]

Io Capitano de Matteo Garrone

Un film de Matteo Garrone Avec: Seydou Sarr, Moustapha Fall, Bamar Kane, Didier Njikam, Ibrahima GueyeL’incroyable odyssée de deux jeunes Sénégalais en route vers l’Italie.

Retrouvez l'article complet ici https://lemagcinema.fr/microcritique/io-capitano-de-matteo-garrone/

[tentpoletrauma]

After successfully resurrecting “The Shape” for Halloween 4: The Return of Michael Myers in 1988, producer and overlord Moustapha Akkad demanded a sequel the following year. The resulting film, boasting the Revenge of Michael Myers, was met with fan backlash and disappointment at the box office, falling to capitalize on the previous film’s murderous momentum. Join Sebastian and Bloody Bits co-host Matt Anderson as they carve into this misguided jack o lantern and revel in one of the long running franchise’s more hysterical entries.

[metroactu]

Samba Ndiaye nommé PCA de la SN HLM, remplaçant Moustapha Fall

Monsieur Samba Ndiaye, ing��nieur en génie civil, a été nommé président du conseil d’administration (PCA) de la Société Nationale des Habitations à Loyer Modéré (SN HLM), succédant à Monsieur Moustapha Fall. Cette nomination marque un nouveau chapitre dans la gestion de cette institution clé, chargée de la planification et de la réalisation des logements sociaux au Sénégal. Le parcours de…

[wiwsport]

Euroleague : Le retour de Moustapha Fall avec l’Olympiakos est imminent https://wiwsport.com/2024/10/08/euroleague-le-retour-de-moustapha-fall-avec-lolympiakos-est-imminent/?utm_source=dlvr.it&utm_medium=tumblr

[therunwayarchive]

Moustapha Sy for Sandro, Fall 2022 Menswear