Carthage (Jcc) is an opportunity for two Senegalese short documentary films called "Kedougou" and "Silence" to deal with the question of memory and politics in connection with the word echo history or the tools confiscated.
It took 26 minutes, the first of the two documentaries in question appeared on Wednesday in ABC Tunisia.
He returns to part of Senegal's political history by shooting a former prison where former Senegalese Prime Minister Mamadou Dia was jailed in Kedouga, in the extreme southeast of Senegal.
The film's main images show a room with faded walls, yellowish and dilapidated, which collapses below the age. The Visits Days tab always shows: "Wednesday – Sunday and Holidays".
Mamadou Dia, whose voice is heard throughout the film, spent ten years after his life in connection with the political events in Senegal in December 1962.
The political crisis this year mainly stood against Mamadou Dia for President Léopold Sédar Senghor, who was considered the father of Senegal's independence, marking the end of the two-member parliamentary regime and the start of the presidential regime.
"All that happens to us today, we would have avoided our dependence, if this act of madness, the selfishness of his side (Léopold Sédar Senghor) of December 1962 (…) is not something that I can not forget I can not forgive, "says the former President of the Council after his release.
The new prison officer is now in complete ignorance in this prison, which has somehow influenced the current destiny of Senegal.
The inputs and outputs of Ibrahima Gadjigo, the tenant concerned, are marked by Mamadou Dia, even though his image was not shown on the screen, and that Léopold Sédar Senghor was designed in a watermark.
Director Mamadou Khouma Guèye made this place by accident, but ignores this unique story as he himself is a trained historian who earned a Masters degree in the area at Cheikh Anta Diop (Ucad) University in Dakar,
In addition to interpreting speech as a Guye recollection tool, he documents the problem of inheritance, relationship with the past, in Senegal, as well as in other African countries.
In addition to the documentary film "Kédougou" issued in 2017, the Senegalese filmmaker finds a favorite subject that inspired "Saraba" (2017), a webdoc about migrants and "Penc-mi", a film that gives voice to citizens.
"It makes fun to see the movie elsewhere," says the director, who talked about his participation in the JCC, an ideal forum for "Kedouga" that can be seen, debated and criticized to allow him to move on.
"Silence," another short Senegal short film revolves around the word, but "this is confiscated," says his director, Pope Abdoulay Seck.
He returned in 3 minutes on the day of the vote on the sponsorship law, the revision of the electoral code approved by the National Assembly in the context of strong disputes.
The film takes the streets emptied around the National Assembly of Senegal and the University of Dakar with a force of barricades maintained by the massive presence of the order's force to prevent any speech.
"It's a form of diminishing the voice of people, it's a common citizen," says the director.
And to show his point, Seck shows it in front of Hemicycle, where the couple, whose hands are tied, is stunned by the sword.
Pope Abdoulaye Seck brings peace to these moments of strong tension by reading David Diop's poem declared in a calm voice contrasted with the dramatic tone of the film.
"I did not want to confine myself to this activism, because it's not my role as an artist, it's an alarm sound with a little wandering," Seck says.
He says he is working on a much larger project called "Youth 221," in which the director "casts doubt on youth to understand what will be tomorrow."
The young filmmaker, trained at the Marrakesh School of Fine Arts in Morocco, has two works, including his "Sagar" (2015), the best film at the Panayian Film and Television Festival in Ouagadougou (Fespaco).
There is also "Yakaar," a film dedicated to the lives of migrants in Morocco in 2018.
The third Senegal film on the run, "Meet My Father" by Alassan Diago, is on the run in the feature-length Carthage Film Days.