Dignity of Work (or lack of), colonialism, the 'other,' racism...An early masterpiece by Sembene! Cool and nearly understated - however the rage against racism does not get buried in favor of bourgeois film sentiments or "the white gaze." This would go well with Gerima's "Bush Mama" as a double feature.
Duro filme relatado a primera persona. Sembene retrata la otredad desde la frustración que llega del mismo sujeto oprimido. Lo curioso es que en cierta forma no hay un intento por revalorar o defender las costumbres propias. La protagonista de "Black girl" después de todo parece haber sido seducida por ese bando opuesto, uno que se le extendió y la endulzó con sus trajes y ciudades, pero que posteriormente se le negó
I'll admit I couldn't entirely get my head around the style but I guess I spent more time trying to figure out who was the bigger asshole -- Diouana for being pissy about her demotion (to a position for which she initially applied) or her asshat employers. Probably both but more so the latter. I liked it even if I still don't recognize the big deal it supposed to be. The short running time didn't hurt either.
Essential cinema. Sembene's debut feature has lost none of its power in its examination of a young Sengalese woman brought to France to be employed as a domestic by a young couple. Her internal monologue throughout is fascinating and the deep meaning and layers to that examination and to something as simple as a mask is masterful. Diop is so expressive but its the filmmaker's choices that make this a masterpiece.
Primera película que veo del continente olvidado —si se lo puede llamar así—, me gustó mucho. Es una película simple pero a la vez con un mensaje fuerte y complejo. ¿Qué otras obras me deparan?. Confío plenamente en el cine africano. Más que recomendada.
The film says a lot about race relations in Africa, and especially in France, one of its colonizers. Left with no option but quiet revolutions, the girl passively follows fate, allowing others to dictate over her. The film, only one hour long, is powerful and tries to dissect racist attitudes but falls short on several points.
In Dakar, a mask is a mask and a woman is a woman. But in France, the mask ceases to be a mask and becomes a wall decoration and Diouanne ceases to be a woman and becomes essentially a slave. It isn't until the beautiful haunting ending when the boy follows Diouanne's old boss like a ghost, that he makes sure the Frenchman never forgets that the mask was always a mask and Diouanne was always a woman.