Maud Martin

Thierno Souleymane Diallo sets out with his camera in search of the birth of filmmaking in Guinea. Charming and determined, he traces his country’s film heritage and history and reveals the importance of film archives.

In 1937, Dominican dictator Rafael Trujillo ordered the massacre of over 20,000 Haitian immigrants living in the Dominican Republic. Daphné Ménard, a Haitian theater director, brought together actors from both parts of the island to work on this event.

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Hassan recalls the first night that Jellaz became his place of shelter. After burying his parents and two brothers, he rested his head at the foot of their graves, fell into a deep sleep, and felt his soul fly. Forty years later, Hassan is the guardian of Jellaz, stationed at the crossroads of two worlds. During the day, we follow Hassan as he greets both the dead and living as well as maintains the space as required - he gardens, builds, cleans, and helps with burial ceremonies. Sometimes he visits crowded neighborhood cafés and blends into life among the living. The injustices and misery that he witnesses outside of Jellaz intrude upon the joy and hope that he feels every day in his enchanted workspace, home, and eventually, deathbed. And then there is Sabrine. She knows what it is like to live a rough and precarious life, and she too is looking for an earthly companion. As Hassan prepares for his own life after death, he shares with us his notes on mercy, memory, and love.

It's a story of desire, a story of resistance, a story of a singer, a story of a little boy, a story of hair, a sad story, a political story, a language story, a beauty story, an old lady story, a cross-legged story, a funny story. It's a trans story. It's a love story.

“Four unaligned rows, 37 faces turned towards the camera lens. Autumn 1958, a family of Breton peasants in their Sunday best, gathered around the eldest. Smartly dressed for the photo. A modest living honestly earned by laborious work”. This is what the narrator proclaims at the beginning of the film, leading us to see things through his eyes. The photo, taken on the occasion of the golden wedding anniversary of the director’s grandparents, is the catalyst of Ordinary Landscape and the symbol of a way of life that is now gone.

My name is Gabriel and I live in Taipei. I have lost my wife during an assault. A red-haired man came to me, he smelt of fried fish. He had a gun and he shot my family. Since, I feel empty as if I had a hole in the head.