夜之路标围绕某嫌疑人的记录

　　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.

晚清，中国内忧外患。在曾国藩等人的筹办下，江南机器制造总局应运而生。邝福海受捻军的派遣前来阻挠，与梦想自建坚船利炮的徐华容结成生死之交。徐华容传播西方科学，推行洋务运动，阻止李鸿章用造船经费购买外国军舰，呕心沥血赶造兵舰，但最终功亏一篑。“甲午战争”惨败后，洋务运动破产，江南制造局成众矢之的。徐华容奔走呼号，惨淡经营，迎来辛亥革命。邝继业从日本回国后，在中共党人李印夏帮助下，发动工人运动，抗拒军阀掠夺，结束摩根称霸江南的时代。日本发动侵华战争，江南造船厂被长崎造船所吞噬。第三代江南共产党人孙翔龙、杨胜国和工程师汪同宾与日寇斗智斗勇，为新四军偷运军需物资，输送军工人才。解放伊始，江南造船厂为装备新中国第一支海军部队，成功实施一江山岛登陆作战立下了赫赫战功。

　　Since the cult success of Merci Patron!, activist/journalist/filmmaker François Ruffin has become an MP. Here, he attempts to table a law aimed at upholding the rights of what in Quebec are known as caregivers, and shows us in passing how a law whose need seems patently obvious is put together, debated, voted on and . . . dies on the battleground of French politics. A stirring documentary about social injustice that somehow manages to make us bust a gut laughing as we rage with indignation. And also cry at the beauty of it all, thanks to the director’s humanist sensibility and a deft play between reality and fiction.