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Aminta Ngom is mad. She knows it, and she is not at all ashamed of it. She sometimes carries her suffering through the streets of Dakar, she endures it between the courtyard walls of her family home, and she talks about it in front of the camera. Behind the camera, and sometimes also in front of it, the director Khady Sylla films distress: distress felt by both of them, not in an illusory sharing, but distress that is shown, contained, voiced or muted, side by side, like
fragments of the broken mirror that we see, of which the filmmaker speaks. Portrait, self-portrait: of whom or what? Of illness, or urban wanderings, of madness, of two women, of a phantom Africa? This film openly addresses these questions.