FATOU CISSE interviewed by SASHA ARTAMONOVA

A new Malian film takes on the tradition of forced marriage with humor, intimacy, and defiance—reimagining African cinema as both tribute and rupture.
On November 7, 2024, elegantly dressed guests filled Magic Cinéma (formerly Babemba) in Bamako, Mali, for the highly anticipated premiere of Furu, the debut narrative feature by Fatou Cissé. Cissé, a rising star of Malian cinema, first captured international attention with her 2022 documentary Hommage d’une fille à son père, a moving tribute to her late father, the legendary filmmaker Souleymane Cissé. It was met with acclaim at the Cannes Film Festival, where it premiered in the classics section.
In Furu, a bold tragicomedy, Cissé tackles the pervasive issue of forced marriage in Mali. Through the intertwined stories of two women, the director explores the tensions between tradition and modernity. Since the mid-twentieth century, marriage customs in African societies have undergone gradual and far-reaching transformations; however, furu ye wajibi ye (“marriage is an obligation”) remains a deeply rooted belief. Furu reveals how this enduring sense of duty takes a heavy toll on young men and women across both rural and urban Mali.
Drawing on real stories experienced by women she knows, Cissé weaves a fictional narrative that shines a light on the lived struggles of Malian women. With Furu, she not only fights for their rights but also extends her father’s legacy by engaging with his seminal works—in particular, Den Muso, the elder Cissé’s 1975 film which exposed social injustices faced by women in Malian society. Both films follow young girls caught in the grip of a patriarchal society who, instead of receiving support, are punished by their communities—in the name of tradition and in service to maintaining the social order.
During the evening screening of Furu, the audience—especially young women—responded with enthusiasm. They laughed, applauded, and audibly supported the film’s protagonists, Tou and Ami, as they navigated moments of tension, irony, and defiance. Cissé weaves humor into key scenes, particularly in the dynamic between Ami and her mother and grandmother, all involved in the generational craft of producing traditional Malian bogolan fabrics. Their spirited exchanges highlight generational divides with warmth and wit. Similarly, the interactions between Tou and her much older husband—whom she was forced to marry by her father to protect the family’s honor after Tou became pregnant out of wedlock—are portrayed with a touch of irony. These lighter moments offer brief respite from the film’s heavy themes and allow viewers to connect more deeply with the young women at its center. At the end of the film, as the credits rolled, a 27-year-old male friend who had recently been forced into marriage by his family confided to me that he was deeply moved. He spoke of the injustice faced by young people like himself, deprived of opportunities—such as education and career development—because of family decisions to arrange marriages for economic gain.
Two weeks after the premiere, I met Cissé at the office of her production company, Sisé Filmu, in Bamako to discuss Furu, her inspirations, the challenges of making her first narrative feature film, and what it means to carry forward the legacy of her father—who would pass away just four months later. Like Cissé’s debut, Furu is headed to the Croisette: The feature will be screened at the Pavillon Afriques after it premieres tonight in New York at the African Film Festival.

SA
How did you come up with the idea to make a film about forced marriage? Why did you think it was relevant?
FC
Mariage forcé is a subject that concerns nearly all young girls in Bamako. Marriage is an obligation. If you’re not married, it’s seen as blasphemy—even I went through it when I was young. It’s unfortunate to say, but that’s the reality. Women are still treated like slaves who must always be submissive, especially by their mothers and the older women who went through the same problems and internalized them. They can’t break free. They believe it’s good for the rest of us.
SA
They insist on arranging marriages?
FC
They insist, so it continues. They believe by virtue of that your children will be blessed, will be protected or become rich. That’s the mentality people have here, and it’s tragic. So, Furu was really made to trigger that red button. Elders—especially grandmothers and mothers—should be protecting us from the fathers. But if they themselves side with the fathers, then the young girl—she’s lost. She no longer knows what to do.
I heard a story about a woman who no longer wanted to stay with her husband, because he kept beating her. She went to seek refuge with her parents. Her parents told her, “No, you’re married now, so you don’t belong here anymore. It’s over. Your place is with your husband. Go back to him.” The woman chose death. She threw herself into the water with her baby strapped to her back. She chose to die with her child rather than return to her husband—all because her parents, even though they knew what she was going through, insisted she go back to the marriage.
There are lines in my film that are taken directly from real life. There are gestures, actions that truly happened. Everything in my film is rooted in reality and shaped through fiction. Because for me, above all, my goal is to convey a message through real events.
Africa is a Country for more