袁方、江峰和许静三个小青年是同窗好以。他们对于人生道路，有自己的主张和追求。当发现父母试图用“过时”的观念来主宰他们的命运时，他们便愤起“反抗”。他们不顾父母的反对，到社会上闯荡，尝了生活的甘苦。他们互相激励，互相帮助，在失败中奋起，逐渐成熟起来，在工作中显露才华，得到了进一步的深造的机遇……电视剧通过一系列生动有趣的情节，展示了父母和儿女两代人之间从相互看不惯到彼此深切理解的曲折过程。当子女们真正领悟了父母无私、无怨、无穷的苦心后，便翻然悔悟，重新与父母建立起新型的亲情关系。袁方父子重建信任和尊重，许静则通过努力，终于使离异的父母得以重聚。家庭的悲欢离合为本剧增添了美丽，动人的色彩。
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.
