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Photo of Mahamat-Saleh Haroun
Photo of Mahamat-Saleh Haroun

Mahamat-Saleh Haroun

“I love Bresson: he understood everything about the cinema. I like his bare, strained style, his elegance. Pickpocket is a lesson of cinema.”

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    LINGUI, THE SACRED BONDS

    Mahamat-Saleh Haroun France, 2021

    In this sumptuous masterwork from Mahamat-Saleh Haroun, the outskirts of N’Djamena shimmer with a vivacity that belies brutal prejudices. A powerful ode to the resilience of Chadian women in the face of patriarchal cruelty, this quietly radical drama has all the healing warmth of a mother’s embrace.

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    A SCREAMING MAN

    Mahamat-Saleh Haroun Chad, 2010

    This Chadian film was an underdog in the 2010 Cannes competition, but its transposition of a near fable-like story (reminiscent of F.W. Murnau’s silent masterpiece The Last Laugh) to an unexpected setting netted wide acclaim—and director Mahamat-Saleh Haroun went home with the Jury Prize.

    ABOUNA

    Mahamat-Saleh Haroun France, 2002

    Deeply invested in portraying childhood and family in all of its complexity, this intimate drama also examines the state of Chad and the central African country’s many hardships. Brotherhood turns allegorical under Mahamat-Saleh Haroun’s deft balancing of the personal with the political.

    GRIGRIS

    Mahamat-Saleh Haroun Chad, 2013

    Following his Jury Prize win at Cannes with A Screaming Man, Mahamat-Saleh Haroun took to the dance floor for this electric look at the social dynamics of his native Chad. Embellishing his quiet style with elements of the thriller, Grigris features an unforgettable central turn from Souleymane Démé.

    BYE BYE AFRICA

    Mahamat-Saleh Haroun Chad, 1999

    Blurring the lines between documentary and fiction, this debut feature from Mahamat-Saleh Haroun examines the decline of the film industry and its movie palaces in his native Chad. A reflexive work of auto-critique, Bye Bye Africa is an acute study in African identity and the question of home.

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