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Back in the 17th Century, France began its conquest of the African country of Senegal. Starting with small settlements, it became a full-scale thing by the 19th Century. In 1960, Senegal finally gained independence after hundreds of years of French dominance, but not without leaving indelible marks in the country and its population. That is part of what this iconic Senegalese film draws upon.
Black Girl follows Diouana (Mbissine Thérčse Diop), a young Senegalese woman that goes to work for this wealthy French couple as a nanny while they're settled in Senegal. Eventually she moves with them to France hoping to continue her work as a nanny, but finds herself working as a servant instead, and the subject of harsh treatment from the wife (Anne-Marie Jelinek) and apathy from the husband (Robert Fontaine).
Directed by Ousmane Sembčne, Black Girl was one of the first films from Africa to gain international attention. The way the director uses the relationships between this European couple and our African lead as an allegory to the relationships between both countries is brilliant and thought-provoking, as he uses it as a way to address the effects of colonialism.
One of the best ways that Sembčne highlights this is through an African mask that is passed as a gift from Diouana to her employers, but ends up becoming an important point of contention in the plot and an important symbolism for the themes of the film. The fight for the mask becomes an allegory of the fight for Africa, and Diouana's defiance is a symbol of Senegal finally taking back what is theirs and declaring their independence.
Diouana, as a representation of Senegal, is an interesting character. Through all the film, she complies with her orders, but there is always a resistance that starts subtly, but boils over towards the end. "I did not come here for the apron". She is essentially trapped, enslaved, but decides "never more" and takes control of her destiny, even if it is with tragic results. The marks and effects of colonialism and slavery don't lead to happy endings, and will always be there, but still... never again.
Grade:
BLACK GIRL
(1966, Sembčne)
A film from Senegal
(1966, Sembčne)
A film from Senegal
"Never will I be a slave. I did not come here for the apron or the money. Never will she see me again. Never will she scold me again. Never again, Diouana."
Back in the 17th Century, France began its conquest of the African country of Senegal. Starting with small settlements, it became a full-scale thing by the 19th Century. In 1960, Senegal finally gained independence after hundreds of years of French dominance, but not without leaving indelible marks in the country and its population. That is part of what this iconic Senegalese film draws upon.
Black Girl follows Diouana (Mbissine Thérčse Diop), a young Senegalese woman that goes to work for this wealthy French couple as a nanny while they're settled in Senegal. Eventually she moves with them to France hoping to continue her work as a nanny, but finds herself working as a servant instead, and the subject of harsh treatment from the wife (Anne-Marie Jelinek) and apathy from the husband (Robert Fontaine).
Directed by Ousmane Sembčne, Black Girl was one of the first films from Africa to gain international attention. The way the director uses the relationships between this European couple and our African lead as an allegory to the relationships between both countries is brilliant and thought-provoking, as he uses it as a way to address the effects of colonialism.
One of the best ways that Sembčne highlights this is through an African mask that is passed as a gift from Diouana to her employers, but ends up becoming an important point of contention in the plot and an important symbolism for the themes of the film. The fight for the mask becomes an allegory of the fight for Africa, and Diouana's defiance is a symbol of Senegal finally taking back what is theirs and declaring their independence.
Diouana, as a representation of Senegal, is an interesting character. Through all the film, she complies with her orders, but there is always a resistance that starts subtly, but boils over towards the end. "I did not come here for the apron". She is essentially trapped, enslaved, but decides "never more" and takes control of her destiny, even if it is with tragic results. The marks and effects of colonialism and slavery don't lead to happy endings, and will always be there, but still... never again.
Grade: