地狱厨房美第十四季

　　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.

　　増加する水上犯罪を取り締まるため、警視庁は「東京水上警察署（水上署）」を発足。しかし、そこに集められたのは、経歴も価値観も異なるバラバラの集団だった。所轄刑事として20年以上働くリーダー・碇拓真（いかり・たくま）、本部から異動してきた上昇志向の強い刑事・日下部峻（くさかべ・しゅん）、船の操縦を担う海技職員・有馬礼子（ありま・れいこ）ら、個性豊かな水上署のメンバー。そんな彼らが、東京の海や川で起きたあらゆる犯罪に挑み、事件解決を通じてチームとして結束していく。

　　该剧以“民间保镖”这个特殊岗位的人为题材，创造性地讲述了保镖与警视厅SP、难相处的保护对象等各种人的思想相互交织的故事。