岳父太囧

　　以宋末国亡家破时代为背景，讲述了文天祥被元兵俘掳，追随他多年的的义士王青，潜入牢中，腹藏祥之血书，逃至清心寺。青临终时，将血书交予独子磊，并嘱其联络各方义士，驱除异族，还我河山。

A dangerous game, full of traps. A dispute of power, money and desire. On one side of the board, delegate Giovanna Torres, on the other, the wife of a businessman, Maya Manoela. In this game, only one will fall. Who will give Checkmate?

哈福高中高二乙班是全校最調皮的班級，歷任班導都撐不過三個月，校長董仁擎決定大膽一搏，請來警察退役的王浩南幫忙。一臉書呆樣的王浩南，讓學生們玩味的打賭這次新導師可以撐多久。另外，學生們發現王浩南與高二甲...

　　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.