半艺人

　　野野山修一（金子统昭 饰）和町田律子（小西真奈美 饰）是一对交往十年、同居八年的恋人。漫长的爱情赛跑，让他们早已成为相互知根知底亲人一般的关系，热恋时候的激情早已退却，代之以但如白水一般的日常，有时甚至都感觉不到爱情的存在，许多心里话也选择隐藏心底。野野山曾鼓起勇气求婚，但小小的意外让他们错过了走入婚姻殿堂的机会。生活中充满各种各样的小事件，不同程度考验着小野和律子对彼此的情感。爱很平凡，爱不简单，早已度过激情时期甚至七年之痒的两人，该如何在尚未结束的长跑中继续下去呢？
　　本片根据日暮キノコ的原作改编。

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　　The film accompanies Magaye Niyang, a star of Touki-Bouki, a 1972 classic directed by her own uncle Djibril Diop. Following this path, we are witness of Niyang travel to a special screening of the film, which has a public release in his old town. Niyang seems detached and with a heavy longing from the past, and therefore, the film debris permeates everything with unescapable sorrow and fascination.
　　Diop film is, first and foremost, a nostalgic travel through memory, time and recreation. It is also a watermark in contemporary experimental documentary, a very intimate portrait of a lost long journey through the past that isn’t returning anymore, a detachment of rejected fame, recognition and connection which is heavily grounded on a legacy that belongs to the past, and that connects directly to a country (Senegal) and its heritage, which is sometimes feel excruciating for the old ones (a testimony such as the taxi scene in the film, where the cab driver longs for changes, and claims that the old generation had done nothing for that).
　　Mille Soleils (A Thousand Suns) and, in itself, Mati Diop’s crucial talent, should be a point of reference into what could easily be one of the most interesting proposals of hybrid documentary cinema which has come from France, and which deals with a strong African heritage. Since 35 Rhums, where she proved her actress talent, Diop seems like a true promise for the following years of cinema.