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Rate This. Not Rated 1h 5min Drama 5 April France. A black girl from Senegal becomes a servant in France. Director: Ousmane Sembene.

Writers: Ousmane Sembene based on a novella by , Ousmane Sembene. Available on Amazon. Added to Watchlist. From metacritic. Cannes Classics. Each day, her African identity deteriorates as she is seen as nothing but a slave to the white man.

Theorists have explained that placing any human being in an inferior position in the context of discourse causes great mental strain.

Fanon argues that It causes both the mind and body to feel inferior causing the colonized to feel less like a human being. The concept of literacy is additionally a very valuable aspect of the portrayal of colonialism.

While Diouana is suffering, Madame begins to express to her mother that she is having a lovely and fulfilling time in France.

Diouana becomes enraged, stating that this is not her letter. It is created for her by the colonizer, while she has no say in the matter. The film shows the true damage that colonialism can cause an individual.

In terms of its representation of racism, it is expressed through the relationship of Diouana and Madame. These characters represent the issue of power relations between Africa and the Western state.

This simple scene immediately shows the power difference between the two states. Each of these women dreams of living a fantasy life when arriving in Europe, but are faced with a negative reality.

When Diouana is hired and arrives in France, she discovers herself to be in isolation from the world around her and forced to face the issue of racism daily.

Even when guests arrive at the house, she is put on show for all the white men and women. Due to the colour of her skin and her country of origin, she is seen as a product to be used, not a human to be cared for.

The film highlights societal hierarchy and how race is used to create this division. It is expressed that the social order can only be upheld with the cooperation of both the exploiter and the exploited.

This is a method used by many colonizers, and it is clearly visualized within this film. In his book Movies as Politics , Jonathan Rosenbaum makes a case for Black Girl as the symbolic genesis of sub-Saharan African filmmaking, at least to the extent that the authorship belonged to a born and bred African.

In addition, the film, being from the perspective of a Senegalese female, acts as a rare reflection of the voices of the colonized. While Senegal had gained independence in before the film takes place , colonial oppression still thrives throughout the film.

This is seen in the objectification of Diouana and the suppression of her dreams and ambitions. Diouana dreams to go to the French shops, see the beautiful views, and live a luxurious lifestyle, but she does not have the resources to do so.

She attempts to express some part of this dream by wearing dresses and heels while working; however, Madame yells at her to take off those clothes and reminds Diouana that she is a maid, so she has no need for such attire.

To Diouana, France was supposed to be her chance at freedom, wealth, and happiness, and this dream was promised to her by Madame.

In The Cineaste , poet A. Diop is one of those actors you want to stare at a couple of hours, easy. So this is an equation for emotional investment--if not unbridled infatuation, at least--woven into the writing and the casting.

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Rate This. Not Rated 1h 5min Drama 5 April France. A black girl from Senegal becomes a servant in France.

Director: Ousmane Sembene. Writers: Ousmane Sembene based on a novella by , Ousmane Sembene. Available on Amazon.

Added to Watchlist. From metacritic. Cannes Classics. French Cinema. Cinetek Herrschaft und Knechtschaft: 25 servants and masters. Share this Rating Title: Black Girl 7.

Use the HTML below. You must be a registered user to use the IMDb rating plugin. Favorite film with a black woman in the lead role? Diouana Anne-Marie Jelinek Monsieur Momar Nar Sene Diouana's Boyfriend Ibrahima Boy Boy with Mask Bernard Delbard Young Male Guest Nicole Donati Young Female Guest Raymond Lemeri Couple's Oldest Son Sophie Couple's Daughter Damien Couple's Youngest Son Toto Bissainthe Diouana voice Robert Marcy Monsieur voice Sophie Leclerc Edit Storyline A Senegalese woman is eager to find a better life abroad.

Genres: Drama. Edit Did You Know? Trivia This is believed to be the first feature film made by a black African in sub-Saharan Africa.

Goofs When Diouana goes to bed, she is wearing her wig. When wakes up, she is in curlers. Quotes Monsieur : Their independence has made them less natural.

Alternate Versions A 70 min. It was cut to adjust to the length requirements of the French producers.

Was this review helpful to you? Yes No Report this. Add the first question. Edit Details Country: Senegal France.

Language: French. Runtime: 65 min. Sound Mix: Mono. Color: Black and White Color. Edit page. Madame refuses to let Diouana sleep, and yells at her to get to work.

Diouana attempts to take back the mask she gave to Madame, and a struggle ensues. Madame tells Diouana that, if she does not work, she cannot eat.

Diouana refuses to work. Then, in an unexpected plot twist that is the climax of the film, Diouana commits suicide by slitting her throat in the bathtub of the family's home.

The film ends with Monsieur journeying to Senegal to return Diouana's suitcase and mask to her family. He offers Diouana's mother money, but she is insulted and refuses it.

As Monsieur leaves the village, the little boy with the mask runs along behind him, symbolizing how Monsieur is haunted by his own memories.

This film addresses the effects of colonialism and racism in Africa and Europe. These themes are highlighted through the recurring appearance of an African mask that Diouana gives to her employers on her first day of work at the house in Dakar.

They initially put the mask with other pieces of African Art and, later in France, the mask is hung alone on the white wall in the French couple's apartment.

The mask has different meanings:. The mask is a symbol of unity and identity, but today for the non-Africans it is only a 'souvenir'.

As the film progresses, Diouana is shown as becoming overly depressed and lonely. Each day, her African identity deteriorates as she is seen as nothing but a slave to the white man.

Theorists have explained that placing any human being in an inferior position in the context of discourse causes great mental strain.

Fanon argues that It causes both the mind and body to feel inferior causing the colonized to feel less like a human being.

The concept of literacy is additionally a very valuable aspect of the portrayal of colonialism. While Diouana is suffering, Madame begins to express to her mother that she is having a lovely and fulfilling time in France.

Diouana becomes enraged, stating that this is not her letter. It is created for her by the colonizer, while she has no say in the matter.

The film shows the true damage that colonialism can cause an individual. In terms of its representation of racism, it is expressed through the relationship of Diouana and Madame.

These characters represent the issue of power relations between Africa and the Western state. This simple scene immediately shows the power difference between the two states.

Each of these women dreams of living a fantasy life when arriving in Europe, but are faced with a negative reality. When Diouana is hired and arrives in France, she discovers herself to be in isolation from the world around her and forced to face the issue of racism daily.

Even when guests arrive at the house, she is put on show for all the white men and women. Due to the colour of her skin and her country of origin, she is seen as a product to be used, not a human to be cared for.

The film highlights societal hierarchy and how race is used to create this division. It is expressed that the social order can only be upheld with the cooperation of both the exploiter and the exploited.

This is a method used by many colonizers, and it is clearly visualized within this film. In his book Movies as Politics , Jonathan Rosenbaum makes a case for Black Girl as the symbolic genesis of sub-Saharan African filmmaking, at least to the extent that the authorship belonged to a born and bred African.

In addition, the film, being from the perspective of a Senegalese female, acts as a rare reflection of the voices of the colonized. While Senegal had gained independence in before the film takes place , colonial oppression still thrives throughout the film.

This is seen in the objectification of Diouana and the suppression of her dreams and ambitions. Diouana dreams to go to the French shops, see the beautiful views, and live a luxurious lifestyle, but she does not have the resources to do so.

She attempts to express some part of this dream by wearing dresses and heels while working; however, Madame yells at her to take off those clothes and reminds Diouana that she is a maid, so she has no need for such attire.

To Diouana, France was supposed to be her chance at freedom, wealth, and happiness, and this dream was promised to her by Madame.

In The Cineaste , poet A. Diop is one of those actors you want to stare at a couple of hours, easy. So this is an equation for emotional investment--if not unbridled infatuation, at least--woven into the writing and the casting.

From Wikipedia, the free encyclopedia.

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