The New York Times by Dana Stevens
To skip Moolaade would be to miss an opportunity to experience the embracing, affirming, world-changing potential of humanist cinema at its finest.
✭ ✭ ✭ ✭ ✭ Read critic reviews
Senegal, Burkina Faso, Morocco · 2004
2h 4m
Director Ousmane Sembène
Starring Fatoumata Coulibaly, Maimouna Hélène Diarra, Salimata Traoré, Dominique Zeïda
Genre Drama
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Collé fervently opposes the practice of female genital mutilation, and never allowed it to be done to her daughter. But the people in her village scorn her for it - soon conflict ensues, and Collé must do all that she can to protect her daughter and the other girls in her care.
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The New York Times by Dana Stevens
To skip Moolaade would be to miss an opportunity to experience the embracing, affirming, world-changing potential of humanist cinema at its finest.
Christian Science Monitor by David Sterritt
This sometimes harrowing, often delightful drama stands with his (Sembène) most compassionate, colorful, and artfully filmed works.
This has to be the most richly entertaining movie anyone has ever made on the subject of female genital mutilation.
ReelViews by James Berardinelli
Fatoumata Coulibaly's peformance is striking. She plays her character with a mixture of determination and compassion.
New York Daily News by Jami Bernard
It's a deceptively simple tale that tackles, serenely and with surprising humor, issues of gender, power, custom and change.
The Hollywood Reporter by Kirk Honeycutt
As drama the film mostly serves to illustrate the two sides of this crucial social debate in Africa.
Entertainment Weekly by Lisa Schwarzbaum
The result: This great work of art has the potential to change the world.
Achieves the impossible in taking a genuine socio-political tragedy and turning it into an anvil drama which will fray the patience of the most sympathetic audiences.
This richly textured parable feels every inch the work of a master.
The New Republic by Stanley Kauffmann
Sembène's love of his people and his commitment to the richness that underlies the poverty of their condition have always made his films gems of truth, as they do once again here.
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