The New York African Film Festival mourns the passing of Souleymane Cissé, who died in Bamako on Wednesday, February 20. He was a towering figure in African cinema, a mentor, and a dear friend of our festival. With his death, the world has lost not only a master storyteller but also a guardian of Africa’s cinematic soul. He dedicated his life to documenting his people’s complexities, dreams, and struggles. We were honored to showcase all eight of his films and to welcome him in person four times, most recently in May 2023, during our 32nd edition, where he attended alongside his daughter, Fatou Cissé, who presented her documentary about her father’s extraordinary artistic journey. From New York, they traveled to Cannes, where he received the prestigious Carrosse d’Or, the Golden Coach Award, becoming the only African filmmaker to achieve this honor after Ousmane Sembène.

Souleymane Cissé was a custodian of Africa’s stories, a beacon of artistic integrity, and a relentless advocate for cinema as a tool for cultural preservation and transformation. His 1987 masterpiece “Yeelen” remains a landmark in world cinema, a film of hypnotic beauty and spiritual depth that won the Jury Prize at Cannes and redefined global perceptions of African storytelling. His films were not merely entertainment; they served as acts of resistance, invitations to reimagine history, and love letters to the resilience of his people. As Martin Scorsese, himself a great admirer, once said, “Yeelen” was “one of the great revelatory experiences of my moviegoing life.” Such films inspired Scorsese to establish the World Cinema Project, dedicated to restoring underappreciated masterpieces from around the world, and he invited Cissé to join its board.

Born in 1940 in Mali, Cissé’s journey into filmmaking was shaped by his deep political awareness and commitment to challenging social hierarchies. His early films, including “Den Muso” (1975) and “Baara” (1978), addressed themes of gender oppression and class struggle, defying political censors and sometimes sacrificing his personal freedom. Nevertheless, he remained undeterred, forging a path that established him as one of the most resolute voices in African cinema. His works, such as “Finye” (1982), “Waati” (1995), and “Min Yé” (2009), continued to engage with Africa’s postcolonial realities while staying rooted in the continent’s rich oral and spiritual traditions.

Cissé’s presence at the New York African Film Festival was always more than just ceremonial. He was an engaged and generous spirit, eager to converse with young filmmakers, share stories, and reflect on the evolving landscape of African cinema. At our last gathering, he moved with an energy that belied his years, still exploring the world with the insatiable curiosity of an artist. His unwavering belief in the power of African cinema never faltered. Even in his final years, he remained dedicated to advocating for infrastructure that would enable future generations of African filmmakers to thrive on their own terms.

Honoring Souleymane Cissé means recognizing that he was more than just an individual; he was a movement, a force, and a bridge between generations of storytellers. He envisioned a world where African filmmakers would not need to seek validation from the West and where their stories could be shared with authenticity, dignity, and artistic freedom. In one of his final reflections, he reminded us: “Without adequate resources, it is essential to use the camera to keep imagining.”

As we mourn his passing, we also celebrate his legacy, which will continue to influence the future of African and world cinema. His films remain timeless, his impact indelible, and his passion unforgettable. The New York African Film Festival will always treasure the moments we shared with him and will uphold our commitment to championing African cinema in his honor.

Farewell, dear Souleymane. Your light will never dim.

Mamadou Niang
February 2025