| Photos (see all 2 | slideshow) |
| Fatoumata Coulibaly | ... | Collé Gallo Ardo Sy | |
| Maimouna Hélène Diarra | ... | Hadjatou | |
| Salimata Traoré | ... | Amasatou | |
| Dominique Zeïda | ... | Mercenaire | |
| Mah Compaoré | ... | Doyenne des Exciseuses | |
| Aminata Dao | ... | Alima Bâ | |
| Rasmane Ouedraogo | ... | Ciré Bathily | |
| Ousmane Konaté | ... | Amath Bathily | |
| Bakaramoto Sanogo | ... | Abdou | |
| Modibo Sangaré | ... | Balla Bathily | |
| Joseph Traoré | ... | Dugutigi | |
| Théophile Sowié | ... | Ibrahima (as Moussa Théophile Sowié) | |
| Balla Habib Dembélé | ... | Sacristain (as Habib Dembélé) | |
| Gustave Sorgho | ... | Bakary | |
| Cheick Oumar Maiga | ... | Kémo Tiékura | |
| Sory Ibrahima Koïta | ... | Kémo Ansumana (as Ibrahima Sory Koita) | |
| Aly Sanon | ... | Konaté | |
| Moussa Sanogo | ... | Konaté fils | |
| Naky Sy Savane | ... | Sanata (as Naki Sy Savane) | |
| Stéphanie Nikiema | ... | Mah | |
| Marie Yameogo | ... | Exciseuse (as Marie Augustine Yameogo) | |
| Mabintou Baro | ... | Exciseuse | |
| Tata Konaté | ... | Exciseuse | |
| Fatoumata Sanogo | ... | Exciseuse | |
| Madjara Konaté | ... | Exciseuse | |
| Fatoumata Konaté | ... | Exciseuse | |
| Fatoumata Sanou | ... | Nafissatou | |
| Mamissa Sanogo | ... | Oumy | |
| Mariama Souabo | ... | Jaatu | |
| Lala Drabo | ... | Saaiba | |
| Georgette Paré | ... | Niassi | |
| Assita Soura | ... | Seymabou | |
| Alimatou Traoré | ... | Binetou | |
| Edith Nana Kaboré | ... | Ibatou | |
| Maminata Sanogo | ... | Coumba | |
| Sanata Sanogo | ... | La Reine mère | |
| Mafirma Sanogo | ... | Fify |
Directed by | |||
| Ousmane Sembene | |||
Writing credits(in alphabetical order) | ||
| Ousmane Sembene | writer | |
Produced by | |||
| Thierry Lenouvel | .... | co-producer | |
| Ousmane Sembene | .... | producer | |
Original Music by | |||
| Boncana Maïga | |||
Cinematography by | |||
| Dominique Gentil | |||
Film Editing by | |||
| Abdellatif Raïss | |||
Production Design by | |||
| Joseph Kpobly | |||
Production Management | |||
| Drissa Auba | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Clarence Thomas Delgado | .... | first assistant director | |
| Dominique Zeïda | .... | second assistant director | |
Sound Department | |||
| Christian Germain | .... | foley artist | |
| Denis Guilhem | .... | sound | |
| Jean-Guy Veran | .... | sound mixer | |
Camera and Electrical Department | |||
| Sylvain Bardoux | .... | grip | |
Other crew | |||
| Sophie Dwernicki | .... | script supervisor | |
| Claire Viroulaud | .... | press attache | |
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| Au hasard Balthazar | Water | Léon | Indiana Jones and the Temple of Doom | Roma, città aperta |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Senegal section |
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Ousmane Sembene is a colossus among African filmmakers. He is what Kurosawa and Ray are to Asia. At 82, this man is making films on women's problems, on colonialism, on human rights without losing sight of African culture.
"Moolaade" deals with rebellion by African women against female circumcision, a tradition upheld by elders, Muslim and animist, in a swathe of countries across Saharan and sub-Saharan Africa. Interestingly, the film is an uprising within the social traditions that allow the husband full powers over his wives and acceptance of other social codes to whip his wife in public into submission. How many women (and feminist) directors who preach about female emancipation would have dared to make a film on this subject in Africa? The subject could cause riots in countries such as Egypt. Sembene is more feminist than women and I admire this veteran for this and other films he has made. He graphically shows how women are deprived of sexual pleasures through this practice and how thousands die during the crude operation.
"Moolaade" deals with other aspects of Africa as well. It comments on the adherence to traditional values that are good--six women get protection through a code word and piece of cloth tied in front of the entrance to the house. It comments on materialism (including a bread vendor with a good heart for the oppressed who is called a "mercenary" by the women who claim to know the meaning of the word) that pervades pristine African villages (the return of a native from Europe and the increasing dependence on radios for entertainment and information).
Sembene's cinema is not stylish--its style stems from its simplicity and its humane values. Sembene's films allow non-Africans to get inside the world of the real Africa far removed from the world of the Mandelas, constant hunger and the epidemic of AIDS that the media underlines as Africa today. Sembene's film is not history, it is Africa today. The performances are as close to reality as you could get.
At the end of the film shown at the recent Dubai Film Festival, I could not but marvel at a man concerned not at making great cinema for arts' sake but using it creatively to improve the human condition of a slice of humanity the world (and the media) prefers to ignore.