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Lingui© Pili Films, Mathieu Giombini

Lingui, the Sacred Bonds

Drama, France, Germany, Belgium, Chad 2021
87 min.

Director and screenplay:  Mahamat-Saleh Haroun
Cinematography: Mathieu Giombini
Editing: Marie-Hélène Dozo
Film Score:  Wasis Diop
Cast: Achouackh Abakar Souleymane, Rihane Khalil Alio, Youssouf Djaoro, Briya Gomdigue, Hadjé Fatimé Ngoua
Producers: Florence Stern, Pili Films; Melanie Andernach, Made in Germany Filmproduktion; Diana Elbaum, Beluga Tree
Production: Pili Films (France), Made in Germany Filmproduktion (Germany), Beluga Tree (Belgium), Goï Goï Productions (Chad)
Rating: 18+
Language: French, Chadian Arabic



On the outskirts of N'djamena in Chad, Amina lives alone with her only 15-year-­old daughter Maria. Her already fragile world collapses the day she discovers that her daughter is pregnant. The teenager does not want this pregnancy. In a country where abortion is not only condemned by religion, but also by law, Amina finds herself facing a battle that seems lost in advance...

Mahamat-Saleh Haroun, born in Chad, first won critical acclaim for his short films until directing his first feature, BYE-BYE AFRICA (Best First Film, Venice Film Festival 1999).
He then went on to direct a series of films until his first documentary film, HISSEIN HABRE, A CHADIAN TRAGEDY, was selected at the 2016 Cannes Film Festival, Official Selection – Special screening.

A SEASON IN FRANCE, his first feature film shot in France, was selected at the Toronto International Film Festival 2017. New York paid tribute to Mahamat-Saleh Haroun by hosting two retrospectives of his films:
in 2006 at the Museum of Modern Art (MoMA) and in 2018 at Brooklyn Academy of Music (BAM). In 2010, he received at the Venice Mostra the Robert Bresson Award for his complete works and in 2013, the Fellini Medal awarded by UNESCO.
 

The intense, focused performances from the two central women keep this drama in a hyper-alert state: we are intensely aware of all that is at stake and how mother and daughter are battling for survival.

Peter Bradshaw, The Guardian

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