Athénaïse

An urban train link, the RER B, crosses Paris and its outskirts from north to south. A journey within indistinct spaces known as inner cities and suburbs. Several portraits, all individual pieces that form a whole. We.

A woman travels from the big city to the countryside. The locals are suspicious.

At the consulting service for immigrants at the Avicenne Hospital in suburban Paris, we observe the sorrow and powerlessness of the immigrants who come here.

Nigerian farmer Mocktar comes to Essakane, a dusty gold mining camp in Burkina Faso, seeking work. Haunted by a tragedy-laden past, Mocktar stoically adapts to the horrid working conditions of his fellow miners. Enter the beautiful widow Coumba, who shares Mocktar's endurance but dreams of a better life.

A young biracial woman raised in France travels to Burkina Faso in search of the mother she hasn’t seen in many years. Meanwhile, in Paris, an émigré from Burkina Faso who makes her living as a cleaner teaches the Dioula language to a white middle-class office worker, in this affecting story of global displacement.

On Guadeloupe, an archipelago in the Caribbean, the past speaks up. Sylvaine Dampierre has the workers of an old sugar refinery read passages from the transcripts of an 1842 court case, while the machines roar and groan in the background. The testimonies of the slaves from back then in the rusty halls of today give rise to a polyphony both explosive and poetic in nature.

We hear the thoughts of Amy, a girl from a rural area of Senegal who works as a domestic for a well-to-do family in Dakar. She complains about her employer, who continuously criticizes her and gets on her case, and she talks about her dream of one day opening her own eatery. In Dakar, some 150,000 young women work as housekeepers for rich families to survive and help their families instead of going to school.

Can madness be described? Is it possible to express the pain that it entails? In 1994, when she was about to fall prey to her illness, Khady Sylla met Aminta Ngom, who exhibited her madness freely, without fear of provocation. During her years of suffering, Aminta was her window to the world.