Extract
[...] The film 'Mandate' follows an actantial scheme: Abdou sends a providential mandate to his uncle Dieng, received by Dieng thanks to his wives (adjuncts). However, Mbaye Ndiaye manages to appropriate the mandate, depriving Dieng of the sum intended to settle his financial problems. In terms of the spatial setting highlighted in the film, the audience is shown a disadvantaged neighborhood of the hero: Dieng's house is located in a slum in Dakar. The viewer sees every detail through several scenes that reveal a simple and rudimentary interior, symbolizing the poverty of the neighborhood. [...]
[...] Since the 2010s, filmmakers such as Alain Gomis and Mati Diop have begun to gain international recognition, which has led to a new perspective on modern African cinema. It is worth noting that at the beginning of cinema in Africa, it was mainly Europeans, particularly due to colonial reasons, who filmed, often with colonial perspectives. It was not until the 1950s-1960s that the first African filmmakers would truly appear. The first African films often had documentary or ethnographic objectives, and were shot from the point of view of the colonizers, representing African populations according to the stereotypes and prejudices of the time. [...]
[...] As a spectator, 'The Mandate' touched me with its simplicity and wisdom. I liked the fact that this film is not only a social drama, but also plays on comedy to make the viewer reflect on human values, such as dignity and resilience in the face of adversity. I found that Ousmane Sembène's film was not only a film that entertains and is easy to watch, but also a film that educates and encourages reflection, which, in my opinion, is one of the greatest strengths of this film. [...]
[...] Thus, the viewer can identify seven days in the film, each day being characterized by specific activities and events, such as prayer, household chores, or the movements of the characters. III. Conclusion and personal opinion After watching 'The Mandate' by Ousmane Sembene, I was able to realize that this cinematic work was truly touching and brought a step back on the situation of Senegalese people after the occupation. I perceived a strong social critique in it, which is relevant when one knows the history of African peoples. [...]
[...] However, over time, African filmmakers began to emerge, especially after the independence of the 1950s and 1960s. These African directors started producing films that told local stories from an African perspective, addressing relevant social, cultural, and political themes for their communities. Among the pioneers of African cinema, we can mention Ousmane Sembène from Senegal, often called the 'father of African cinema', whose films played a crucial role in shaping an authentic African cinematic identity. Thus, although the first films in Africa were made by Europeans, African cinema has gradually evolved to include and highlight African voices, offering a more authentic and nuanced perspective on the realities of the continent. [...]
