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Sarah Maldoror ou la nostalgie de l'utopie is a Togolese short documentary film directed by Anne-Laure Folly. It was released in 1999. The film is a tribute to Sarah Maldoror of Guadeloupe, who made the classic film Sambizanga (1972). The film documents the constant political struggle in all her work for liberty, her affirmation of her négritude to the world, and her campaign for recognition of black poets.
A man wakes up and finds himself completely alone. His name is Faber, the only piece that still remains intact, beyond the abyss of decay and emptiness that devour him from all sides. This frightening situation, which suddenly imprisons the dynamics of his existence, is where we start for a deep immersion in the architecture of this sudden and sprawling universe. Every step in the ruins of this interregnum will be imbued with an arcane silence, which seems to belong to the nightmare of a civilization extinguished by a centuries-old curse. As the places buried by the enchantment remain silent, at the same time sharp fragments of a single crystal reverberate, raising every now and then their vibration, summing up in their echo an ever-changing emotional form, continuously winding through history like tributaries full of impetuous currents.
Ben, a young insecure man, meets his new neighbor, who he suspects being a witch.
The bear is the emblem of Bern, and the pit that used to house several of the animals was the most common motif in representations of the city, as well as a central tourist attraction.
Dark schemes are being hatched at the court of Louis XIII. Queen Mother Marie de Medici is ready to do anything to get rid of the brilliant Cardinal de Richelieu, whose politics she does not approve of. As the king sinks into illness, a cruel dilemma is offered to him... Who will be the dupes?
In her approach as a close observer of certain creators in the Letterist Movement, which has revealed CREATION as the central value of a new philosophical system, and as a witness of the multiform creations of an important creator of this movement, and his efforts to help building a richer and happier world, in order to leave a trace upon the world of silence imposed on contemporary artists, the author has selected here lively, peaceful scenes showing a happy life. This is a chiseling letterist film, in which image during the accelerated montage, disynchronising image and sound, has been itself chiseled by drawing on the views, abstract, symbolic figures which reinforce its meaning.
This film is the portrait of a man who has had no luck in life. A man who never had a star, good or bad. This man was my father. What interested me, what motivated my desire to talk about him, is, paradoxically, because I did not know him. Because I know little about the adult man he was. And also because those close to him, his family and friends, only knew what he let them see. When he died one afternoon in August 1975, he was thirty-seven years old and he was starting to get better. He was starting to enjoy life again. That summer we were to spend together. We had to get to know each other. But chance, fate or providence decided otherwise. He was fishing at the edge of a pond. His line hit a high voltage line. His name was Michel. This film is his poetic tomb.
