ABOUT THE BLOGGER
- Beti Ellerson
- Director/Directrice, Centre for the Study and Research of African Women in Cinema | Centre pour l'étude et la recherche des femmes africaines dans le cinéma
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16 October 2026
Miu Miu présente Geste de consolation, un projet imaginé par Alice Diop | Gesture of consolation, a project by Alice Diop
03 September 2026
Alice Diop, the 2026–27 Avenali Chair in the Humanities at UC Berkeley
https://villa-albertine.org/va/events/alice-diop-in-person-bampfa/
Image source: villa-albertine.org
Alice Diop in person at Berkeley Art Museum and Pacific Film Archive for a retrospective of her work from 3-18 September
Program: screenings and conversations
Saint Omer, 2022 - 3 September (in conversation: Alice Diop and Debarati Sanyal)
We, 2021 - 4 September (in conversation: Alice Diop and Maya Sidhu)
On Call, 2016 - 10 September (in conversation: Alice Diop and Iggy Cortez)
Danton’s Death, 2011 and Towards Tenderness, 2016 - 13 September (in conversation: Alice Diop and Damon Young)
Senegalese Meet Scene-Gallic, 2007, and Fragments for Venus, 2025 - 18 September (film introduction by Maya Sidhu)
13 June 2026
BLACK CAMERA - Black Women at the Louvre, Practices of Worldmaking, and the Rehabilitation of Disfigured Images: Reflections on Alice Diop's Fragments for Venus by Beti Ellerson (Spring 2026) - Les femmes noires au Louvre
Image: Screen capture from Fragments of Venus
Abstract
This article navigates the journeys, voyages, odysseys of Black women’s creative power, as the Louvre becomes their point of inquiry. The article explores their practices of looking; how they reimagine ways of seeing, reinvent a world that centers their experiences. The Louvre becomes a metaphor, a space that allows world-making and self-making based on their terms. The Louvre is also a space of resistance and confrontation, as Black women crash the gatekeepers, by dismantling the structures that exclude and efface representations of the Other. The article examines as well, the ways that Black women reformulate practices of curating inside and outside the museum, creating exhibitions, cultural spaces, less foreign, more human, more welcoming. Faith Ringgold, Toni Morrison, Beyoncé, Barbara Chase-Riboud, and more recently Alice Diop, have journeyed there in their work, in their imaginary. Other women have excavated the museum from without, such as Robin Coste Lewis, in her poetry. The article follows their paths, crossings and peregrinations as they interrogate art, language, race, gender, class, the body, belonging, the foreigner.
IntroductionAfrican American Women and the Louvre: A Site of Inquiry
- Faith Ringgold: Dancing at the Louvre
- Toni Morrison: Foreigner’s Home
- Beyoncé: I Can’t Believe We Made It
- Barbara Chase-Riboud: When a Knot Is Untied, a God Is Set Free
Louvre Grounds: An Enduring Space for Black Women’s Self-Making
In Search of Black Venuses
Alice Diop’s Journey
04 June 2026
Un semestre aux côtés d'Alice Diop SciencePo - La Maison des Arts et de la Création 4 juin 2026
23 October 2025
Rencontre inaugurale avec Alice Diop : décentrer les regards - 23 octobre 2025 - SciencePo - La Maison des Arts et de la Création
01 August 2025
Alice Diop talks about her project for a film adaption of Michel Leiris's Afrique fantôme (Phantom Africa)
The exhibition is the culmination of four years of investigation into the conditions of acquisition of each object, conducted by French and African historians, archivists and researchers. Inventories, mission books, period correspondence from L'Afrique fantôme - the notebook kept by mission secretary Michel Leiris were probed and analyzed. The exhibition description is presented in this way:
Different perspectives on colonial history. The exhibition presents new research associated with one of the most emblematic missions of the 1930s.
Between 1931 and 1933, the 'Dakar-Djibouti Ethnographic and Linguistic Mission' journeyed through 14 African countries. Led by French ethnologist Marcel Griaule, it tested new methods of ethnographic survey and collection. In 1933, it contained over 3,000 objects, 6,000 natural specimens, as many photographs, 300 manuscripts, around 50 human remains, some 20 recordings and over 10,000 field notes resulting from observation 'surveys' or 'interrogations'. This scientific expedition also attracted a great deal of media attention with the publication of L'Afrique fantôme, the personal diary of the mission's secretary, Michel Leiris, in which he reveals the relations between the colonised and the colonialists, as well as the conditions under which the surveys and collections were carried out.
Through a selection of objects, photographs and archives, the exhibition revisits documented facts, placing at the heart of the subject the results of research and the current viewpoint of professionals from the African continent. These counter investigations, carried out jointly by a dozen African and French scientists, aim to retrace the conditions under which these heritages were acquired and collected in order to shed light on the colonial context and the stories of men and women who have remained anonymous until now.
For Alice Diop the political significance of L'Afrique fantôme as a report of the events that took place eighty years ago, is that it may now serve as a valid means to actually reclaim those objects that had been acquired in a totally fallacious and violent way.
She also views her film project as a form of counter-archive as a means to reinvent archives through fiction. Hence, giving an existence, an incarnation, a humanity, a visibility, to the people who have not been seen or filmed, heard or listened to, and in so doing, reveal their depth, intimacy, sensitivity.
21 September 2024
Seuls en Scène 2024 presents Voyage of the Sable Venus by Robin Coste Lewis read by Alice Diop
Seuls en Scène 2024 presents Voyage of the Sable Venus by Robin Coste Lewis read by Alice Diop
Princeton Lewis Center of the Arts
21 September 2024
At Seuls en Scène, Alice Diop will read the text of Voyage of the Sable Venus in a work-in-progress version of a performance scheduled to premiere at Festival d’Automne/MC93 Bobigny in Fall 2025.
https://arts.princeton.edu/events/seuls-en-scene-2024-presents-voyage-of-the-sable-venus-by-robin-coste-lewis-read-by-alice-diop/
Image: Lewis Center of Arts
26 June 2024
Alice Diop filmmaker-sociologist-activist : «Nous, on vote» (We're voting)
Source and image: Libération, 26 juin 2024
02 December 2023
Sabzian: "State of Cinema" Alice Diop at Bozar with "Sambizanga" by Sarah Maldoror
https://www.bozar.be/en/calendar/state-cinema-2023-alice-diop
Description from Bozar website:
Sabzian and Bozar are delighted to welcome French filmmaker Alice Diop for the State of Cinema 2023. For six years now, Sabzian has asked a guest to write a State of Cinema article, a text that holds cinema up to the light, an invitation to reflect on what cinema means, could mean, or should mean today.
Alice Diop chose the film Sambizanga (1972) by Sarah Maldoror. The film will be shown with English subtitles.
Alice Diop will be reciting her speech in French, in the Henry Le Boeuf hall, followed by a conversation with Sarah Maldoror’s daughter Annouchka de Andrade, former artistic director of the International Film Festival of Amiens.
The day after the screening, the State of Cinema text will be made available for free on Sabzian’s website, in English, French and Dutch translation. The video recording of Alice Diop’s presentation at the Brussels arts centre will also be provided.
Lire le texte en français: https://sabzian.be/text/state-of-cinema-2023
Read the text translated in English: https://sabzian.be/text/state-of-cinema-2023-0
ALSO READ: (Re)Discover Alice Diop
https://africanwomenincinema.blogspot.com/2011/12/re-discover-alice-diop.html
10 November 2023
Carte Blanche Alice Diop: Reformuler - 10 - 12.11.2023 - Festival d’Automne 2023
https://www.104.fr/fiche-evenement/alice-diop-reformuler.html
Alice Diop, seized by Zanele Muholi’s photograph of a black woman examining herself in a mirror, puts words to her own intimate and political journey. For this Carte Blanche, she invites an assembly of women who come together to reflect, to define themselves: Reformulate themselves.
Saisie par une photographie de Zanele Muholi d’une femme noire qui se scrute dans un miroir, Alice Diop pose des mots sur son propre cheminement intime et politique. Pour cette carte blanche, la cinéaste convie une assemblée de femmes avec lesquelles penser en commun, se définir, se Reformuler.
Though silent, an image speaks. For Alice Diop the photo by South African artist Zanele Muholi becomes the symbolism of an underground revolution. It is, henceforth, about “daring to bare oneself, no longer accepting to be defined by others, looking within oneself”. But probing within oneself as a woman, a black woman, is necessarily “exhuming and questioning what the violence of History has done to her personal, intimate self.”
In this Carte Blanche Alice Diop organized by the Festival d'Automne, Alice Diop invites the women who accompany her on her path, both personal and political. This assembly of cineastes, poets, writers, dancers, singers and researchers opens a space to collaborate as they reflect about a world where the voices of those concerned count; to choose on one’s own terms, self-determine, to Reformulate oneself.
***
Bien que silencieuse, une image peut nous adresser la parole. Ce cliché de l’artiste sud-africaine Zanele Muholi devient pour Alice Diop la symbolique d’une révolution souterraine. Il s’agit désormais "d’oser se mettre à nu, ne plus accepter d’être définie par l’autre, regarder à l’intérieur de soi". Mais sonder depuis l’intérieur de soi quand on est une femme, quand on est une femme noire, c’est nécessairement "exhumer et questionner ce que la violence de l’Histoire a pu faire à l’intime" explique la cinéaste.
Dans cette carte blanche confiée par le Festival d’Automne, Alice Diop convie les femmes qui accompagnent son chemin aussi personnel que politique. Cette assemblée de cinéastes, poétesses, écrivaines, danseuses, chanteuses ou chercheuses ouvre un espace pour penser en commun un monde où les voix des intéressées comptent ; pour choisir ses propres termes, s’autodéterminer, se Reformuler.
Program
The Carte Blanche opens with a selection of texts by Seynabou Sonko, Guslagie Malanda, Kiyémis and Alice Diop, a chorus of women coming together to share the intimate words of black women, past and present. A chorus of voices, soft and whispering.
Page Blanche: Lecture d’extraits d'une sélection de textes par Seynabou Sonko, Guslagie Malanda, Kiyémis et Alice Diop
***
Irreversible Entanglements - the US free jazz collective
***
La performance d'automne de Maré Mananga - An afrofeminist chorale
***
In a concert conceived for the Carte Blanche Alice Diop, Mélissa Laveaux proposes a constellation of poetic texts and musical compositions
Dans ce concert imaginé spécialement pour la Carte Blanche Alice Diop, Mélissa Laveaux propose une constellation de ses textes poétiques et compositions musicales
***
Le Voyage de la Vénus noire / Conspiracy - a lecture from the oeuvre of Robin Coste Lewis
***
Conversation sur le spoken word avec Casey et Lisette Lombé
***
Bintou Dembélé - Rite de passage – solo II - A dance of maroonage
***
Est-ce que je peux pleurer pour toi ? | Can I cry for you?
Installation de Verena Paravel, Alice Diop, Hélène Frappat et Penda Diouf
30 June 2023
Chaire Cinéma : regards croisés entre Alice Diop et Claire Denis - SciencePo - La Maison des Arts et de la Création
25 February 2023
Alice Diop reçoit le César du meilleur premier film pour Saint Omer - César 2023 - Best first film. In the footsteps of Euzhan Palcy
Image: Créateur : Fred Dugit | Crédits : LP / Fred Dugit
Alice Diop, the 11th woman to have received this honor in the footsteps of Euzhan Palcy who was the first woman and the first black person to receive the César in 1984 for Rue cases nègres.
A year ago I would never have imagined to be here today, you guys [producers] never gave up, your intuition, your audacity, your courage, you carried me here, thank you to my team, I can't name everyone...I am very proud to be part of a new generation of French women filmmakers, along with Rebecca Zlotowski, Mia Hansen-Love, Alice Winocour, Blandine Lenoir, Claire Denis..We will be neither a stopgap, nor a passing fad! We are called upon to renew ourselves year after year, to grow in numbers. This year I have seen some extraordinary films that have made me think, made me see the possibilities of cinema. You go girls...thank you for being there...
« Je voulais juste dire que je suis fière d'appartenir à une nouvelle génération de cinéastes françaises. Cette année j'ai vu des films extraordinaires qui m'ont fait réfléchir aux possibilités du cinéma, et je voudrais citer ici des films qui m'ont complètement inspirée : des films de Claire Denis, le film de Rebecca Zlotowski, le film de Mia Hansen-Love, le film d'Alice Winocour, le film de Céline Devaux, de Blandine Lenoir... Merci. On ne sera ni de passage, ni un effet de mode. On est appelées à se renouveler année après année, à s'agrandir. Merci à vous les filles. Merci d'être là »
21 October 2022
Alice Diop receives the prestigious Jean Vigo 2022 Award for "Saint Omer", in the footsteps of her ancestor Ousmane Sembene (La Noire de..., 1966)
With “Saint Omer”, Alice Diop receives the prestigious Jean Vigo 2022 Award in the footsteps of her ancestor Ousmane Sembene for the film La Noire de..., in 1966
Alice Diop receives the 70th Jean Vigo Award. A French film prize, presented since 1951 (to filmmakers such as Alain Resnais, Jean-Luc Godard, Maurice Pialat, or more recently, to filmmakers Axelle Ropert, Sophie Letourneur, etc.).
And I may add: in 1966, the award was presented to Alice Diop's illustrious Senegalese ancestor, Ousmane Sembene, for the pioneering film La Noire de..., also relating the tragic story of an African woman living in France, as the main protagonist.
The prestigious Jean-Vigo 2022 award was presented to Alice Diop on Wednesday, 19 October, at the Centre Pompidou for her first fiction feature, Saint Omer. The jury praised “her unique way of reflecting our era, with the unthinkable as a point of departure—connecting the intimate and the collective, society and history, the inexplicable and the political necessity to find meaning.” This trial-film, which will be released in theaters on November 23, candidly traces the true story of Fabienne Kabou, an infanticidal mother who abandoned her 15-month-old daughter on a beach in Berck-sur-Mer in 2013. In the film, the young novelist Rama attends the trial of Laurence Coly and while listening to the testimonies, sees her certitudes upended.
The new award consolidates the already impressive and remarkable international journey of Saint Omer. Selected in the official competition at the Mostra de Venise 2022, where it won awards back-to-back, the Silver Lion and the Lion of the Future, the film will represent France for the 2023 Oscars, in the “best international film” category. Active for more than fifteen years in the documentary genre (les Sénégalaises et la Sénégauloise, la Mort de Danton (the Death of Danton), Vers la tendresse (Towards tenderness)—winner of the César for best short film in 2017…), Alice Diop attained international recognition for the first time with Nous (awarded in Berlin), a majestic odyssey from north to south of the Parisian peripheral suburbs along the [rapid-transit commuter train] RER B, in the footsteps of François Maspero.
by Beti Ellerson
Based on French-language text in the Liberation.
07 October 2022
ALICE DIOP: the literature of Annie Ernaux as a transformative feature of her experience as a woman | la littérature d’Annie Ernaux comme un effet transformatif sur son expérience en tant que femme
ALICE DIOP: the literature of Annie Ernaux as a transformative feature of her experience as a woman | la littérature d’Annie Ernaux comme un effet transformatif sur son expérience en tant que femme.
Grand prix du jury et le prix du premier film de fiction «Saint-Omer» à la Mostra de Venise, la cinéaste Alice Diop évoque le rapport fondamental qu’elle entretient depuis des années avec l’œuvre de l’autrice nobélisée ce jeudi.
Laureate of the Grand Jury Prize and the prize for the first fiction film "Saint-Omer" at the Venice Film Festival, cineaste Alice Diop talks about the pivotal bond she has had for years with the work of the newly minted Nobel Prize laureate Annie Ernaux.
Source: liberation.fr
«C’est bien la première fois que je suis émue aux larmes pour l’annonce d’un prix Nobel ! J’ai lu la Place
quand j’avais 20 ans, j’étais à la Sorbonne en histoire, je me sentais
profondément seule, déphasée et d’un coup, ce livre m’a offert un miroir
réflexif comme si l’auteure concentrait dans ses pages en m’ayant
devancée dans son parcours, sa réflexion, un ensemble d’expérience très
spécifique propre à ce qu’on a fini par nommer les transfuges de classe.
«Partir d’une situation de fragilité, surmonter la honte, raconter la violence subie, élever au rang de littérature des choses qui n’étaient pas destinées à entrer dans son champ comme ces pages géniales sur l’odeur d’eau de javel à la maison, tant sa mère est obsédée par le ménage, odeur que j’ai sentie, presque portée sur moi toute mon enfance, c’était bouleversant.
Mon expérience de femme a été traversée par sa littérature, c’est puissant, politique, chirurgical. Elle a éclairé, nommé, ce que j’avais vécu, elle l’a réparé et a transformé ma fragilité en puissance, elle m’a permis de devenir la femme que je suis.
Translation from French by Beti Ellerson
“This indeed is the first time that I was moved to tears by the announcement of a Nobel Prize! I read La Place when I was 20 years old, I was at the Sorbonne studying history, I felt deeply alone, out of step and suddenly, this book offered me a reflective mirror of what had preceded me, as if in its pages the author was bringing to bear in her journey, her thinking, a very distinct body of experiences specific to what we have come to call class defectors.
"Starting from a situation of fragility, overcoming shame, recounting the violence suffered, elevating to the rank of literature things that were not intended to enter into its field, like these brilliant pages about the smell of bleach in the house, from her mother’s obsessive cleaning—an odor that I smelled. It almost carried me back to my entire childhood, it was overwhelming.
My experience as a woman was marked by her literature, it is powerful, political, surgical. It clarified, named, what I had experienced, it rebuilt and transformed my fragility into power, it allowed me to become the woman that I am."
12 September 2022
Alice Diop: “we will no longer be silent”. Lion d’Argent, Grand Prix du Jury de la Mostra de Venise - In the footsteps of Euzhan Palcy
This is a history of transmission, of sorority, of passing on the torch, with this very women-centered film, and I am very touched by it…When I was filming Saint-Omer, there is a book that I kept at my bedside by the poet Audre Lorde called Sister Outsider that I read every evening, which gave me strength. She says in speaking about Black women, ‘our silence will not protect us’, and I would like to say tonight, that we will no longer be silent.
Saint-Omer Synopsis
Rama, a novelist in her thirties, attends the trial of Laurence Coly at the court of Saint-Omer. The defendant is accused of killing her 15 month-old daughter, abandoning her on a beach in northern France at the rising tide. From this story Rama would like to write a contemporary adaptation of the ancient myth of Medea. But during the course of the trial, nothing goes as planned. About to become a mother herself, ultimately, this closed-session proceeding brings into relief her own relationship to motherhood.
28 July 2022
Alice Diop: Saint Omer - La Biennale di Venezia 79 - 2022
Rama, a novelist in her thirties, attends the trial of Laurence Coly at the court of Saint-Omer. The defendant is accused of killing her 15 month-old daughter, abandoning her on a beach in northern France at the rising tide. From this story Rama would like to write a contemporary adaptation of the ancient myth of Medea. But during the course of the trial, nothing goes as planned. About to become a mother herself, ultimately, this closed session proceeding brings into relief her own relationship to motherhood.
Co-written by novelist Marie NDiaye and film editor Amrita David
Also see acceptance speech of Grand Prix du Jury de la Mostra de Venise: https://africanwomenincinema.blogspot.com/2022/09/alice-diop-we-will-no-longer-be-silent.html
06 February 2022
Alice Diop: Autour de « Nous » Centre Pompidou (Paris) - 11 - 14 févr. 2022
Eminently political, all of Alice Diop's work is part of a continuity, the starting point of which could be Maurice Pialat's short film, L’amour existe (1960). As Nous makes its theatrical release, the filmmaker designs for the Centre Pompidou a form of a self-portrait in twelve sessions, which reveals and recounts the constellation that inspires and nourishes her. She presents her own films and invites artists whom she feels close to, in order to probe issues regarding cinema as it relates to her own representation of the French "banlieue" , in the continuity of the ideal Cinematheque of the "banlieues" of the world, which she initiated in 2020.
31 August 2021
Alice Diop et Sylvain Prudhomme : Gondar d’après L’Afrique fantôme de Michel Leiris (1934)
Quel dispositif inventer pour faire entendre tout ce que L’Afrique fantôme continue de dire, quatre-vingts ans après, jusque dans ses silences, du fossé entre colonisateurs et colonisés ? Travaillant à l’adaptation cinématographique du fameux journal publié en 1934, Alice Diop et Sylvain Prudhomme relisent la rencontre de Michel Leiris, à Gondar, avec l’Éthiopienne Emawayish, dont le souvenir le hantera jusqu’à la fin de sa vie. Ils racontent aussi l’histoire de Rama, réalisatrice, et Thomas, écrivain, qui découvrent ensemble ce texte, et le reçoivent avec deux regards, deux vécus différents.
07 March 2021
Berlinale 2021. Alice Diop : We | Nous - Winner of Best Film in Encounters | Primée à la Berlinale
Image: unifrance.org
The award for Best Film in Encounters goes to "We" (Nous) by Alice Diop. Source: Berlinale
La cinéaste Alice Diop, lauréate du Grand prix Encounters de la Berlinale 2021 pour son documentaire "Nous" (We à l’international) ! Inspirée par Les Passagers du Roissy Express de François Maspero, paru en 1989, la réalisatrice originaire d’Aulnay-sous-Bois a repris le RER B avec sa caméra au poing pour y documenter les changements de la banlieue parisienne, 30 ans après. Source: https://lemag.seinesaintdenis.fr/Alice-Diop-primee-a-la-Berlinale-2021
The RER B is an urban train that traverses Paris and its environs from north to south. Multi-award-winning documentary filmmaker Alice Diop takes us through these suburban spaces and confronts us with some of the faces and stories of which they are composed.
A moving testament to the importance of filming as a process of bearing witness and remembering, Nous is timely in many ways. It is subtle and shrewd in a world that favours shortcuts and easy answers. Justifiably adopting the fragmented structure of a patchwork portrait in order to describe a riven society, Diop displays impressive control of her essay and its impact. In the film’s first few minutes, a deer is observed, through binoculars. A certain sense of awkward, human-generated distance stays with us. Isolation, discrimination and nostalgia for hierarchies, inherited from a monarchical past … Divisions haunt France’s present. But the human urge to give as well as to receive stubbornly creeps into every situation, observed or triggered. Could this be the one thing that still keeps a nation together? Source: YouTube
Une ligne, le RER B, traversée du nord vers le sud. Un voyage à l'intérieur de ces lieux indistincts qu'on appelle la banlieue.
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