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.
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掉落的飞机残骸砸中了怀特家的房子，沃尔特的妻子斯凯勒戳穿了丈夫的谎言并决定离开他。同时，沃尔特将面对一桩三亿美元的生意，但是此时的沃尔特生活已经再度发生大变故，钱财对于他来说还有意义吗？这桩买卖他拒绝得了吗？能出得起三亿美元的买家是什么来头？沃尔特将面对一个更可怕的对手。
