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poster
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5.2
/56/
40
/1/
40
/2/

Voisins, voisines (2005)
The Mozart Residence is home to several "new owners" of all origins: a new concierge, Paco, of Spanish origin, who has just been released from prison, arrives at the residence. Around it, the hall and the mailboxes, the "ballet" of the Residence Mozart is organized.
poster
74
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6.3
/25/
90
/1/
65
/2/
3.5
/211/

And the Dogs Were Silent (1976)
For 'Et les chiens se taisaient' Maldoror adapted a piece of theatre by the poet and politician Aimé Césaire (1913–2008), about a rebel who becomes profoundly aware of his otherness when condemned to death. His existential dialogue with his mother reverberates around the African sculptures on display at the Musée de l'Homme, a Parisian museum full of colonial plunder whose director was the Surrealist anthropologist Michel Leiris.
poster
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20
/1/

Sarah Maldoror ou la nostalgie de l'utopie (1999)
Sarah Maldoror ou la nostalgie de l'utopie is a Togolese short documentary film directed by Anne-Laure Folly. It was released in 1999. The film is a tribute to Sarah Maldoror of Guadeloupe, who made the classic film Sambizanga (1972). The film documents the constant political struggle in all her work for liberty, her affirmation of her négritude to the world, and her campaign for recognition of black poets.
poster
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7.2
/9/
100
/1/

Aimé Césaire, Un homme une terre (1976)
Alternating interview segments, shots of Martinique landscapes and scenes from Aimé Césaire's play La Tragédie du roi Christophe (1963), Sarah Maldoror portrays her friend as a politician, a poet, and a founder of the Négritude movement.
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Afrique[s], une autre histoire du XXème siècle - Acte 1 (2010)
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Sisters of the Screen - African Women in the Cinema (2002)
Exploring the extraordinary contributions of women filmmakers from Africa and the diaspora, Beti Ellerson’s engaging debut intersperses interviews with such acclaimed women directors as Safi Faye, Sarah Maldoror, Anne Mungai, Fanta Régina Nacro and Ngozi Onwurah with footage from their seminal work. With power and nuance, Ellerson also confronts the thorny question of cultural authenticity by revisiting the legendary 1991 FESPACO (Pan-African Festival of Cinema and Television of Ouagadougou), in which diasporian women were asked to leave a meeting intended for African woman only. This film is both a valuable anthology and a fitting homage to the pioneers and new talents of African cinema.
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Foreword to Guns for Banta (2011)
Originally an analog slide show made for two projectors, this work recounts the making of Sarah Maldoror's lost and surely never-to-be-seen first film Guns for Banta.


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