Malian filmmaker and New York University professor, Manthia Diawara critiques visual anthropology through the work of Jean Rouch.
In Senegal, Yene was traditionally a seaside town with many fishermen and farmers but has in recent years been troubled by coastal erosion and urbanisation. In conversation with the town’s community, Manthia Diawara explores how their lives contribute to the undermining of their shared environment.
Shares 3 cast members · Same director
Grindhouse combines Robert Rodriguez's Planet Terror, a horror comedy about a group of survivors who battle zombie-like creatures, and Quentin Tarantino's Death Proof, an action thriller about a murderous stuntman who kills young women with modified vehicles. It is presented as a double feature with fictitious exploitation trailers preceding each segment.
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In 2003, Manthia Diawara visited Guinea-Conakry to see what was left of the artists and intellectuals of the Guinean Cultural revolution, and how its citizens of Conakry were coping with globalization.
Shares 2 cast members · Same director
Mercenary soldiers Jamie and Drew are hired by a large corporation to liberate Zangaro, a small African nation, from an despot. Havoc ensues.
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In New York City, the lives of a lawyer, an actuary, a house-cleaner, a professor, and the people around them intersect as they ponder order and happiness in the face of life's cold unpredictability.
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Mali born Manthia Diawara's documentary is a complement to Ângela Ferreira's artistic project on the Maison Tropicale by Jean Prouvé, which was shown at the Venice Biennale 2007.
Shares 2 cast members · Same director
In 1973, a young gallery assistant goes on a wild adventure behind the scenes as he helps aging genius Salvador Dali prepare for a big show in New York.
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Manthia Diawara's film follows the Martinican thinker Édouard Glissant on a transatlantic journey as he discusses his philosophies of creollization, relation, and history.
Shares a lead actor · Same director
During the 1976 Soweto uprising, a white school teacher's life and values are threatened when he asks questions about the death of a young black boy who died in police custody.
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More interested in partying and flirting with young musicians than work, veteran rock journalist Ellie Klug has one last chance to prove her value to her magazine’s editor: a no-stone-unturned search to discover what really happened to long lost rock god, Matt Smith, who also happens to be her ex-boyfriend. Teaming up with an eccentric amateur documentary filmmaker, Ellie hits the road in search of answers.
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The film narrates a utopian abandonment, consensual and festive of the market economy and high productivity. The population decides on a number of resolutions beginning with "We stop everything" and the second "After a total downtime will be revived-reluctantly-that the services and products including lack will prove intolerable. Probably: water to drink, electricity for reading at night, the TSF to say "This is not the end of the world, this is an 01, and now a page of Celestial Mechanics". The implementation of these resolutions is the first day of a new era, Year 01. The Year 01 is emblematic of the challenge of the 1970s and covers such diverse topics as ecology, negation of authority, free love, communal living, rejection of private property and labor.
Paris, summer 1960. Anthropologist and filmmaker Jean Rouch and sociologist and film critic Edgar Morin wander through the crowded streets asking passersby how they cope with life's misfortunes.
Candid interviews of ordinary people on the meaning of happiness, an often amorphous and inarticulable notion that evokes more basic and fundamentally egalitarian ideals of self-betterment, prosperity, tolerance, economic opportunity, and freedom.
A documentary film in which Fabrice Aragno assembles a range of footage from the archives of Radio Télévision Suisse, the Cinémathèque suisse and Cinéma en tête by Freddy Buache’s partner Marie-Magdeleine Brumagne.
Mariama and Damouré, two cousins, are in Venice looking for a relic—or fetish—lost a long time ago, as in one of Gentile Bellini’s famous paintings. Moving from the Grand Canal to the Niger River, the two mischievous cousins reveal to us that the relic is none other than the ritual ax of Dongo.
In 2003, Manthia Diawara visited Guinea-Conakry to see what was left of the artists and intellectuals of the Guinean Cultural revolution, and how its citizens of Conakry were coping with globalization.
Mali born Manthia Diawara's documentary is a complement to Ângela Ferreira's artistic project on the Maison Tropicale by Jean Prouvé, which was shown at the Venice Biennale 2007.
Manthia Diawara's film follows the Martinican thinker Édouard Glissant on a transatlantic journey as he discusses his philosophies of creollization, relation, and history.
In Senegal, Yene was traditionally a seaside town with many fishermen and farmers but has in recent years been troubled by coastal erosion and urbanisation. In conversation with the town’s community, Manthia Diawara explores how their lives contribute to the undermining of their shared environment.
