djibril diop mambety interview

to reinvent the cinema. As I said more than 20 years ago, for the educated African, Chinese, or Japanese, nothing authorizes mediocrity. Restored by the World Cinema Project and now available from The Criterion Collection, Djibril Diop Mambéty's cheeky critique of colonialism, Touki Bouki (Journey of … Together, they are too heavy for human beings. which don't really appear anywhere else. I believe that each filmmaker goes his own way, but each person is constantly evolving, changing as he looks to the light he receives that helps him advance. I don’t want to talk about Europe. To do that, one must have a mad belief that everything is possible—you have to be mad to the point of being irresponsible. my dignity is meat. Djibril Diop Mambety's Films are It is intrinsic to the film; it magnifies the action. That doesn’t change anything. Djibril The cinema of Djibril Diop Mambéty is filled with dreamers. strong force. It does not mean adorned with makeup. Djibril Diop Mambety Mati Diop The Criterion Collection Djibril Diop Mambéty Magaye Niang Myriam Niang Christoph Colomb Mustapha Ture Drama. I try to make the image illustrate the movement. Though she’s considered a first-time filmmaker by Cannes standards, Mati Diop is hardly a newcomer, having spent more than a decade working as an actress in films by Claire Denis (35 Shots of Rum), Antonio Campos (Simon Killer), and Matías Piñeiro (Hermia and Helena), and directing a small but vital collection of shorts. DJIBRIL DIOP MAMBETY: I loved pictures when I was a very young boy --but pictures didn't mean cinema to me then. Africa Film & TV Magazine. story that had to be told? A3, 2003; Simon Njami, « 'L'image va où le vent', entretien avec Djibril Diop Mambety » (consulté le 2 juin 2013) Vincent Malausa, « Djibril Diop Mambety, la liberté sans condition », Cahiers du cinéma, n o 678, mai 2012 (en) Clare Clements, Meandering through Dakar. In the case of Senegal’s Djibril Diop Mambéty, however, the 19-year rupture that separated his only two feature films, Touki Bouki (1973) and Hyenas (1992), remains a mystery. The first two films, The Little Girl Who Sold The Sun and Le… They follow the wind and follow the life. If the west leaves Africans alone, their money and the profit will stay the same Africa can rediscover that moment of the invention of cinema. To me, structure often means premeditation. It's the money. Africa is rich in cinema, in images. I rarely go to the cinema. The World Bank and it's International Monetary I do not want to remain forever pessimistic. Please take my dignity and kill me with your The hyena has no sense of shame, but it represents nudity, which is the shame of human beings. film is a specific sort of animal? I follow the same principle as a story. Pourrait-on parler d’abord de ton frère Djibril ? They are like some kind of elephant I prefer walking like an elephant rather than making films In these matters, humans are mere toys. It means that something is well communicated. DJIBRIL: I can't say. It’s the way I dream. 2, pp. [. If the mayor had dressed like a mayor, if the professor had dressed like a professor, then they would have felt individual responsibility. INTERVIEWER: In the beginning of the film and at the end there are scenes of elephants kill enough people and we will give I am free with pictures. got from your actors? Sissako calls Djibril Diop Mambéty the greatest African filmmaker. They are the time. All Rights Reserved. Tout cela se voit dans des scènes du film, la violence : quand Mory ne part pas, et tout ce sang qui est versé, c’est la vie de Djibril… » Andrea Paganini : Bonjour Wasis. Among the central and recur-ring images in his films are marginalized people, hyenas, and money. and how you'd like to be described. "The Hyena's Last Laugh: A Conversation with Djibril Diop Mambety," interview with N. Frank Ukadike, in Transition, vol. DJIBRIL: Theatre is theatre. Flâneurs, Fragmentation and the Flow of Life in Djibil Diop Mambéty’s Cinema of Wanderers". My task was to identify the enemy of humankind: money, the International Monetary Fund, and the World Bank. one of you will have to be killed. DJIBRIL: Its earned millions many millions. Earlier, I focused on the notion of freedom, which includes the freedom not to know. will be here. It's still a very young invention. Then I will consult God about the state of the world. The instant is motivated. All my friends Sada Niang: Djibril Diop Mambety: un cinéaste à contre-courant, Paris: Editions L'Harmattan, 2002. That broke the magic of cinema for me. I had the freedom and confidence to marry his text with my film and make his story my own. ... An abstract, surreal lovers on the run road movie explodes and implodes under the force of Mambety's stylized editing, the timeline of events vague and open ended. VIOLATION Video Interview… For example, at the end of Hyenas, if you want to know where Dramaan Drameh’s body has gone, you risk breaking the magic. He talks about his plans for a third part of the ”Tales of Ordinary People” trilogy—which was never made. to packed audiences at the recent Southern African Film Festival, talks with Rachel The point is not that she is Asian. you have the kingdom of Hyenas. But this aspect of his character allows me to investigate every aspect of his society. I want to survive. And to make it global, we borrowed somebody from Japan, and carnival scenes from the annual Carnival of Humanity of the French Communist Party in Paris. So comparison with anything else stops there. Returning home: Djibril Diop Mambety's Hyènes. DJIBRIL: My name is Djibril. Interview By N. Frank Ukadike This discussion is an excerpt of what appears in Transition 78, published in 1999, the year after Mambéty’s death at just 53. They are all disguised because no one wants to carry the individual responsibility for murder. Film programmer and critic Ashley Clark includes a portion of an interview with Mambéty in which he says, “The hyena is an African animal … falsehood, a caricature of man. Museum of Modern Art The master Abel Ferrara–with whom we recently spoke in a wide-ranging interview–is given his largest-ever retrospective. Their hair makes them buffaloes. with it? He had no dignity Philosophical and private motives apparently led to Terrence Malick’s more recent 20-year hiatus. with them in order to get that quality of performance. DJIBRIL: Birds are the next step. I think my target is clear. I do not have a grand explanation of power and madness. INTERVIEWER: Hyenas has been very popular The hyena is a permanent presence in humans, and that is why man will never be perfect. They are hungry; they are ready to eat Dramaan Drameh. "African Conversations," interview with June Givanni, in Sight andSound (London) September 1995. She breaks them into smaller stones that can be used in construction. All movement is accompanied by a sense. Hollywood? Wasis Diop … Wind is music, just as music is wind. I am not a contrarian. INTERVIEWER: But to me you are not putting theatre onto film. She is a rich foreigner. Born the son of a Muslim cleric in Colobane, near Dakar, Senegal, Djibril Diop Mambéty received no formal training in filmmaking. Cinema was born in Africa, because the image itself was born in Africa. Hyenas are not the time, elephants are the time and during What do you mean by that? Professional actors break the magic of the dream and the magic of cinema. The mask is what makes it impossible for the townspeople to recognize good and bad. that is like a bird about Hyenas? It never kills. Oral tradition is a tradition of images. are more truthful to their material. A rich man comes along, and a magazine that should cost 5 francs is sold for 500 francs. The instruments, yes, are European, but the creative necessity and rationale exist in our oral tradition. 8, no. In: manycinemas 2/2011, 16–29, Online auf manycinemas.org. For me, part of that beauty is the fact that it is not very difficult to make a film in Africa. DJIBRIL: There is some kind of hope. in Ukadike 6). When I was young, I preferred acting to making pictures. animal. Marginalized people interested Mambety because he believed that "they When artists converge on these images, there is no longer room for ethnic peculiarities; there is only room for talent. I loved pictures when I was a very young boy—but pictures didn’t mean cinema to me then. One part of Criterion's brand new World Cinema Project box set is one of African cinema's greatest achievements. That is why I have fished out cases where man, taken individually, can defeat money. is like. We are perhaps poor in money but so rich by situation and hope. When children ask me, “How does one make a film?” I always say that you have to have freedom to make a film, and to have freedom, you need confidence. you money.". If I have to describe myself I can say that I There is a scene where this woman comes in and reads: she reads of the vanity of life, the vanity of vengeance; that is totally universal. (2011). and the cinema will have it's first centenary in '95. Metrograph Djibril Diop Mambéty’s Touki Bouki follow-up Hyenas continues screening. The hyena comes out only at night; he is afraid of daylight, like the hero of Touki Bouki—he does not want to see daylight, he does not want to see himself by daylight, so he always travels at night. The first two films, The Little Girl Who Sold The Sun and Le Franc, were shown together as Metrograph’s premiere Live Screening. 1. Diop Mambety A wealthy woman (Ami Diakhate) returns to her—and Mambéty’s—home village, and offers the inhabitants a vast sum in exchange for the murder … So what they have in common is cowardice. I think that the power of madness is one thing, and the madness of power is another thing. INTERVIEWER: Why did you make Hollywood could not have made this film, no matter how much money they spent. The first two were Touki Bouki and Hyenas. But you know Africans are also like the world bank. They are nearer life than a professional. It is good for the future of cinema that Africa exists. I had a vision that I already had encountered this character in a film. Only magic knows where his body has gone. I do not refuse the word didactic. ready to take off. Personally, I prefer films in the eyes of younger filmmakers - for myself it's better No more. Do you think that the Then we can give So we leave each other in the fullness of our first meeting. Every time I make a film I want to reinvent film. DJIBRIL: You know I don't often go to the cinema. What’s essential is communication. Well, I do not like the word discourse, so perhaps I should have said the instant is forced by the necessities of movement. said, film is a very young invention and I have to follow how others are making films. Regarding my young colleagues, I have not seen many of their films. power of the story - and also the quality of the photography. Notable, but marginal: the fact that everyone confides in him sets him apart. In the 1999 interview 'The Hyena's Last Laugh," Mambety said "the future belongs to images. Linguère Ramatou is also marginalized, because she is exactly the same person who crossed the Atlantic to go to Europe in Touki Bouki. Imagination created the image and the image created cinema" (qtd. sick lion during all seasons. DJIBRIL: All my life is a dream. Please check your entries and try again. 8, n° 2, 1999) Anny Wynchank : Le Franc de Djibril Diop Mambety, une ré … 2, 1999. It arises from the necessities of discourse. I want these children to understand that Africa is a land of images, not only because images of African masks revolutionized art throughout the world but as a result, simply and paradoxically, of oral tradition. or which character they wanted to be. Hyenas, please, So costume is not an ornament, it is the reflection of a situation. All of these are intended to open the horizons, to make the film universal. The point is that everyone in Colobane—everyone everywhere—lives within a system of power that embraces the West, Africa, and the Land of the Rising Sun. My first name is Djibril. I am all for the quality of things—the total quality. for the reality. hyenas. I have seen fewer African films than you have. You've made an extraordinary film in terms of the power - the kind of mythological Because I know that cinema must be reinvented, reinvented each time, and whoever ventures into cinema also has a share in its reinvention. Think of Le Franc. I say that as a creator and manipulator of character and event. I tell them to close their eyes, to look at the stars, and look into their hearts, and then to open their eyes and see if the film they want to make is there, in front of their eyes. whose wings flow in the wind, and African Film makers can be birds for reinventing With reference to "rich as World Bank" Director Mambety said in a 1993 interview that - "They tell the African people 'we know that you're poor but you have too many people working and you don't have enough money to pay them so you have to kill some of them. Ultimately, I found her in a play called The Visit (1956) by Friedrich Dürrenmatt. So the people of Colobane become animals. make films I want to make sure that there exists this sense of reinvention and this The hero of the film is going crazy because of a lottery ticket, but he manages to hold on because he has the power of dreaming. I do not want to use an actor again once we have worked together. Now that I have made it, Hyenas belongs as much to the viewer as to me. there are people that are making films just for the sake of making films.... who “When a story ends—or ‘falls into the ocean,’ as we say—it creates dreams,” said the great Senegalese director Djibril Diop Mambéty in an interview after the completion of his second film, Hyenas, a wildly freeform adaptation of Friedrich Dürrenmatt’s The Visit. DJIBRIL: Cinema can reach more people than theatre. He talks about his plans for a third part of the “Tales of Ordinary People” trilogy-which was never made. DJIBRIL: You know the world bank is just a picture. What is said is stronger than what is written; the word addresses itself to the imagination, not the ear. all these people in the story came from bars, from townships, like the one in the Djibril Diop Mambety, director of the award winning Hyenas (click on picture for Real Video clip, "Ramatou's Arrival ") which played to packed audiences at the recent Southern African Film Festival, talks with Rachel Rawlins about his art, god, and the World Bank. that the world bank comes in and demands this and people have to pay that price? going on, and between the elephants at the beginning and the elephants at the end, Cinema is a young invention we are now in the year 1993 The people of Colobane feel they need her money; you could say, in the language of the World Bank, that she is a marginal person “we want to have.” So Linguère Ramatou gives me a measure of my existence in relation to other things. They are free to take their own path, to enter or to leave. I began to make Hyenas when I realized I absolutely had to find one of the characters in Touki Bouki, which I had made 20 years before. INTERVIEWER: So is there no DJIBRIL: My last hope is that my children become Oral tradition does not just mean opening your mouth. I must just wait for when the dream is 23, No. In an interview from 1995, the Senegalese filmmaker Djibril Diop Mambety remembered his first encounters with the movies. Do you think that Hyenas are People who want modern buildings in their neighborhood ask her to move her workshop away. INTERVIEWER: Why did you move So I decided to study drama, but one day in the theater, I realized that I love pictures. Movement creates its own internal dynamic, and the different effects of a film—text, music, image—arise from this dynamic: they are never separated. They know we are sick and poor and we Myself, I am actor. Quality, quality. Europe is not important for me. The people of Colobane are dressed in rice bags. Mory and Anta’s dreams made them feel like foreigners in their own country. INTERVIEWER: Do you think that African from it or act on it? That's why they Thus, the rich man creates a problem, but she manages to escape this problem, because she dreams of something better. Clements, Clare (2011): "Meandering through Dakar. have enough money to pay them so you have to kill some of them. When I set out to find her again, I had the conviction that I was looking for a character from somewhere in my childhood. Birds know what god Shortly thereafter, he made his first film short called Badou Boy (1970), which dealt with the life of a young renegade. That was how I found myself in this thing called cinema. . I don’t conduct myself with reference to other people. from the west. A film is a kind of meeting; there is giving and receiving. So they were marginalized people, in that respect. I like wind very much. I never learnt cinema in any schools. There are others who can respond to this better than me, but I know that Africa is immensely rich in cinematic potential. lion's last days it comes down and jumps on him and eats him, eats the lion peacefully. You mustn’t expect me to cut the patrimony of the mind into pieces and fragments. It has energy and direction. The Hyena’s Last Laugh: A Conversation with, “I AM INTERESTED IN MARGINALIZED PEOPLE, BECAUSE I BELIEVE THAT THEY DO MORE FOR THE EVOLUTION OF A COMMUNITY THAN THE CONFORMISTS.”, “CINEMA WAS BORN IN AFRICA, BECAUSE THE IMAGE ITSELF WAS BORN IN AFRICA.”. Facets Multimedia. am just a history of a dream. Djibril Diop Mambéty (January 1945 – July 23, 1998) was a Senegalese film director, actor, orator, composer and poet.Though he made only two feature films and five short films, they received international acclaim for their original and experimental cinematic technique and non-linear, unconventional narrative style. It seems to me that when we talk about structure, we enter into confusion. African continent has something in particular to offer ? Here are Mambety… a rush -not a joy for forgetting reality, but a joy for opening your sweet dream That is the life of the World Did you train them? Is it a didactic film in any way? Relatively unknown compared to other foreign film giants is the work of Djibril Diop Mambety, 1945-1998, with only a few films to his credit, including Touki Bouki, Badou Boy, both from 1973. In 68 Let’s talk about making films in Africa. That is why we made them animals, because animals commit this kind of murder. “We were very young,” he said, and not allowed out at night because the area was dangerous. The professional actor does not exist. here. After I unveiled this very pessimistic picture of human beings and society in their nakedness in Hyenas, I wanted to build up the image of the common people. Everyone comes in—to buy food, or to have a drink—so Dramaan Drameh has the key to the “tree of words.” Yet he is marginal. They are nearer than Hyenas to god. You know why? Great intro by Scorsese and a 12 min interview with Abderrahmane Sissako on his love for the film. For me a film should be a bomb, a bomb of emotion like frightened and elephants follow the wind. Film is film. That is not an explanation or an ideology. Fund did the same......with the poor South of the world. Marginalized people bring a community into contact with a wider world. Do you want to change anything He is a liar, the hyena. at the beginning but he gained dignity because he came to terms with his fate and "we know that you're poor but you have too many peoples working and you don't The hyena comes out only at night, he is afraid of daylight, like the hero of Touki bouki …” Mory, more than Ante, schemes and plots, constantly trying to find ways to find the funds to escape Dakar, a place they feel is too weighed … I waited for that moment, my life's dream, your dream. INTERVIEWER: So you're a maker of dreams. D jibril Diop Mambéty’s 1973 film Touki bouki was first released by The Criterion Collection in late 2012 as part of their boxset Martin Scorsese’s World Cinema Project No. So I decided to study drama, but one day in the theater, I realized that I love pictures. film. It means clearly said. In Hyenas, the people of Colobane would not have been able to enact a collective murder if they had each kept their individual clothing. Everything has to be perfect, but what does perfect mean? Students, like the children I referred to earlier, are waiting to discover that making a film is a matter of love, not money. Where the money to make a film comes from doesn’t matter. - birds are our dreams - and reinvent cinema. Once we have worked together, it seems to me that the actor has already given everything, because I have already asked everything of him or her. Something went wrong. From that time I haven't made many films. Style is a word that I do not like. You must have the freedom and confidence to understand and critique what you see. The abandoned bags of rice that the people of Colobane wear at the end of the film did not cost much; it was only the equipment for the production that was a little expensive. Imagination creates the image and the image creates cinema, so we are in direct lineage as cinema’s parents. So are you saying that this is a positive aspect of the Is it different from .] N. Frank Ukadike, The Hyena's Last Laugh interview with Djibril Diop Mambety dans Transition 78 (vol. Interview: Teemour Mambéty Diop on “Hyenas” And His Father’s Legacy Paulette Gomis talks to Teemour Mambéty Diop, son of legendary "Hyenas" director Djibril, about living with a filmmaker father and embracing his legacy. He grew up in Colobane, a neighborhood in Dakar, where his father was an imam. When I plan a film, the ideas flow naturally from my original dream, from conception to finish. Diop Mambety, director of the award That's why I like working with non-professionals. The film depicts a human drama. But sound is not something foreign to adorn the film. They tell the African people A few quotes were also taken via Wikipedia. As I said to the children before, in order to make a film, you must only close your eyes and see the images. It means evoking, creating, and writing. Anny Wynchank, Djibril Diop Mambety ou Le voyage du voyant, Éd. Anta and Mory do not dream of building castles in Africa; they dream of finding some sort of Atlantis overseas. INTERVIEWER: What about the films that you've seen here in Harare? Why should I magnify the ordinary person after this debauch of defects? Cinema is magic in the service of dreams. Is there any significance to this? He is able to follow a lion, a But it’s a complicated dream, one in which there’s a tension between the seduction of leaving and the desire to stay. In La petite vendeuse de Soleil [The Little Girl Who Sold The Sun], all the protagonist wants is to sell her magazines, but money comes to subvert her plan.
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