Yeelen

Thirteen filmmakers talk about Henri Langlois and their relationship with him.

Beginning in South Africa under the apartheid regime, the film follows a young girl who flees the country after a violent confrontation with a local white landowner in which her father is killed. She settles in Abidjan, where, ten years later, she has become a university student. As part of her studies, she visits the Taureg tribe on the edge of the Sahara before at last returning to post-Apartheid South Africa.

Two Malian teenagers, Bah and Batrou, from different backgrounds, meet at secondary school. Bah is the descendent of a great tribal chieftain. Batrous father, a provincial military governor, represents the new ruling power. The two teenagers are part of a generation that rejects the established order and challenges the society in which they live.

A young mute woman is raped and becomes pregnant, with disastrous consequences within her family. The film also sketches the social/economic situation in urban Mali in the 1970s, particularly in relation to the treatment of women.

A young manager of a factory encounters a man walking along a road who says his family traditionally are servants to the manager's family. The manager offers him a job, and as he watches out for the other man's welfare, begins to see how the company mistreats its workers. The manager is challenged between his ethics and the pressure from others to protect his own interests as dire problems surface at the factory

In Rennes, as part of the 5th Traditional Arts Festival in 1978, storytellers and musicians from the Seychelles islands express their concern with modernism and the disinterest of young people in traditional music.

A portrait of the Malian artist Mamadou Somé Coulibaly who draws his inspiration from the history of the African people.

Meeting of two greats, Cissé's tribute to the dean of African cinema is without discours, without pathos. It is the one returned by his mini camera, which attends the funeral ceremonies that marked the departure of Ousmane Sembene in Dakar, and finds the relatives of Sembene in the house he had built in Yoff, directly on rocks beaten by the ocean. These simple and close images, with a distance from the ceremonial that Sembene would have appreciated, those briefly borrowed from his films and archives, weave a film full of friendship and fraternity.

Bamako. Several women are illegally evicted from their home in 2008. Their brother, Souleymane Cissé, takes up his camera to look back at his childhood and family history in a country heading for war despite a tradition of tolerance.