千阳

简介

　　The $film accom= ]panies Magaye @ Niyang,] a star of Touki-Bouki,)# a[,; 1972 clas:/sic d! irected by her own un.
cl^+e Djibril Di@op. *]\F((-ollowing _!\this  path(#, we a$r=+e witnes#$s of N iyang tr-#(%a[$vel to a special
 screening of the film, whi, ch  ,$has a public re;/!lea/se in his old ##to`[wn. Niya`-\ng seems d).$et . ac*^(hed and with ,-a heavy longing )*from the pas-t, a@nd t,h$erefore, th] ]e film debr? is =!@p_ermeat;:es@ everyth$ing wi:th unesc@? ap  able s!orrow a$!nd ;fascin a!/tion.　　Dio,@p fi$lm is, .firs_t \,and, foremost, a nost![algic t .ravel th=,rou#)g)=.h memory, ][time #/_and :#recreation. * It(, /[[i\s ) also a wat!?`/e_rmark in con^ ^t`/* em-)_^por^!a(]..ry expe._rimental doc[$umentary, a very.-? i*=ntimate p*[#ortrait
o;+f a lost long+( journey t+_hrough the
$^ pas=t that is(n’t!$ ret/*urning anymore, a detachment o ^
f rejected f!-a /);me, recogni,tion*` and c_.onnect$)@%$ion% / which is heavily grounded _on a legacy that belongs to the pas* t, and !@@that connec\ts+ directly t
o a c(;?ountry (Senega?%=l`) and [* i^!ts:: \.(^\herita\: g/`e, wh -ich is*+ so:me-times feel (#=excruciati_ng for th+e 
old on
$es (a testimony such as the ta ^xi scene in the film,+;;. wher%?;e the \cab d-$ri([ve(.-r@ longs for c:hanges, and claim+=!s that th)e ol,d gen)_era)^\\ti@o(n had done nothing fo_?#r that).=]=　　M \ille Solei-,l(s @_(A Th`ousan `d Suns
) an^d, /=
in ((itself, Mati Diop’s crucial talen+t,$\/ should be a poi%]]+nt o f .[]-refe::rence into what could ea[ ]-sily be one (#.of the most /!inte)res(#ting (propos=als *of hybrid +(documentar[)y cinema which has come from F[rance,;, :?and whic#[]h dea(ls wi;th a stron]g \-\African heritage. S\/,/ince 35 Rhums:\, where sh(e? proved her *actress ta;=(]?lent, Dio!/p seem?:^s li%\ke a# tr *ue promise for the^` ;^followin g +/%years of cinem.=a.