Every Wednesday for the next six weeks, the theater will open a first-run, unsung art movie that might otherwise never have played here. These first two films are worth seeing simply for the glimpse they provide of Senegalese society; too often, we forget the naive interest we had as kids in seeing movies about places we'd never been. These are among the very few African films in release in this country, and moviegoers know so little of the real Africa, where King Solomon no longer mines. From a critical point of view, however, the two films are quite uneven. I'd be interested in learning which one director Ousmane Sembene made first.
Black Girl / Borom Sarret
Black Girl review – Ousmane Sembène’s groundbreaking film dazzles 50 years on | Film | The Guardian
The first sub-Saharan film to make a major impact in Europe and North America, Black Girl radiates with an expressive tone, despite some script compression and the typical production obstacles of a mids independent film. They drive along the coast of the Mediterranean and reach a small, sparsely decorated apartment in Antibes. Accepting the move to France is something of a bait-and-switch. The children are nowhere to be seen, and her tasks are reduced only to cooking and cleaning.
‘Black Girl’ a powerful portrait of African woman who vows ‘never will I be a slave’
A black girl from Senegal becomes a servant in France. Diouana : The kitchen, the bathroom, the bedroom, the living room. That's all I do!
In France, Diouana hopes to continue her former job as a nanny, and anticipates a new cosmopolitan lifestyle. However, upon her arrival in Antibes, Diouana experiences harsh treatment from the couple, who force her to work as a servant. She becomes increasingly aware of her constrained and alienated situation and starts to question her life in France. This was the director's first feature-length film.