Paulin Soumanou Vieyra

Émile Boulard is a props man in a Paris movie studio. He has a wife, Suzanne. Or to be more accurate, let's say he HAD a wife since she left him fifteen years before, allegedly ... to go buy a post stamp. But now that their daughter Martine , who lives with her, is old enough to marry, she resurfaces. She confesses that, in order to explain his absence, she has told Martine her father was a great explorer and lion hunter in Africa. Not to disappoint his daughter, Émile accepts to pose as the adventurer he is supposed to be. At the same time he will help Daniel, Martine's bashful fiancé, not to become a henpecked husband like him.

In France during World War I, Marthe waits for her husband, Jacques, while he fights on the front lines. Marthe then begins a tempestuous affair with 17-year-old François, with whom she had a dalliance before marrying Jacques. Jealous François struggles with the fact that Marthe is married, while she tries to prove her devotion to her young, hotheaded lover. Things become even more complex when Marthe becomes pregnant with Jacques' baby.

Betrayed by his wife, a teacher proceeds to have an affair with a young and pretty student. The two women both find themselves expecting a child. The girl dies during childbirth. In a spirit of revenge and to keep his real son, the scorned husband exchanges the babies.

This film is widely regarded as the first film made by an African south of the Sahara. Labelled an “ethnological documentary in reverse,” it shows 1950s Paris from the cinematic perspective of a group of African immigrants. (Mubi)

During an interview with the filmmaker Paulin Vieyra, the painter Iba Ndiaye recalls key moments of his life. He begins with his childhood in Senegal and his studies at the Lycee Faidherbe in St. Louis of Senegal, where he was drawn to design and graphic arts. African nature and its sweeping horizons remain however his main sources of inspiration.