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In doing so, each film looks beyond the leafy cobbled boulevards of Paris.
在此过程中，每部电影的视野都超出了巴黎绿树成荫的鹅卵石林荫大道。
Each, in its own way, gives a voice to the unheard.
每部电影都以自己的方式为未被听见的群体发声。
When that voice happens to be elegant spoken French, it disconcerts the viewer and challenges attitudes—exactly as Ms Diop intends it to in “Saint Omer”.
当发出的声音恰好是优雅的法语时，它让观众感到不安，并挑战人们的态度——就像迪欧普在《圣奥梅尔》中想要达到的效果。
Laurence explains in the courtroom that, back in Dakar, her parents refused to allow her to speak Wolof, her maternal Senegalese tongue, at home;
劳伦斯在法庭上解释说，在达喀尔，她的父母不允许她在家里说沃洛夫语(她的塞内加尔母语)；
having done as instructed, she was mocked by her peers for sounding like a Parisienne.
她照父母的话做了，又被同龄人嘲笑听起来像巴黎人。
The eloquence with which Laurence recounts killing her child, Ms Diop has said, constitutes a form of “resistance”, a way “not to be assigned to a place she doesn’t want to be”.
迪欧普说，劳伦斯在讲述杀害自己孩子时十分流利雄辩，这构成了一种“抵抗”，一种“不让自己被分配到她不想去的地方”的方式。
“Why did you kill your daughter?” asks the judge in the film.
“你为什么杀了你女儿？”影片中的法官问道。
“I don’t know,” Laurence replies politely, as if in a philosophy tutorial; “but I hope the trial will help me understand.”
“我不知道，”劳伦斯彬彬有礼地回答，就像是在哲学课上发言，“但我希望这场审判能帮助我弄清楚。”
When collecting two prizes at the Venice Film Festival last year, Ms Diop nodded to Audre Lorde, a black American feminist: “Our silence will not protect us.”
在去年的威尼斯电影节上领取两个奖项时，迪欧普向美国黑人女权主义者奥德丽·洛德致敬：“我们的沉默保护不了我们。
The film-maker has said she hopes her work, which includes several documentaries, will “offer to the world all these missing stories…all these black women who haven’t been heard, for whom we speak in their place.”
迪欧普说，她希望她的作品，其中包括几部纪录片，“能给世界带来所有这些缺失的故事……所有这些未被听见的黑人女性，我们代表她们发声。”
The impulse to tell untold stories also drives a new Franco-Senegalese film, “Tirailleurs” (“Father and Soldier”), which was released in France on January 4th.
讲述未被讲述之故事的冲动也推动了一部法国-塞内加尔新电影的产生，即《狙击兵》，该片于1月4日在法国上映。
Directed by Mathieu Vadepied, it was co-produced by Omar Sy, one of France’s best-loved actors, who leapt to international fame for his role in “Lupin”, a thriller series on Netflix.
这部电影由马修·瓦德皮执导，并由法国最受喜爱的演员之一奥玛·希主演，奥玛·希因在网飞的惊悚剧集《亚森·罗宾》中的角色而一举成名。
“Tirailleurs” is set in 1917, when Senegal was under French colonial rule, and tells the story of Bakary Diallo (Mr Sy), a cattle herder, whose teenaged son, Thierno (Alassane Diong), is forcibly enlisted into the French army.
《狙击兵》以1917年法国殖民统治下的塞内加尔为背景，讲述了牧牛人巴卡里·迪亚洛(奥玛·希饰)的故事，他十几岁的儿子蒂埃诺(阿拉萨内·迪翁饰)被强行征召加入法国军队。
To try to save him, Bakary volunteers to join his son, leaving the arid scrub of Senegal for the mud and blood of the trenches.
为了保护儿子，巴卡里自愿加入儿子的军队，离开了塞内加尔干旱的灌木丛，前往泥泞和鲜血遍布的战壕。
Shot mostly in Peul (Fulani), a west African language, and screened with French subtitles, “Tirailleurs” touches on exile, fatherhood and colonial brutality.
电影的对白语言主要是西非语言富拉语，字幕为法语，它触及了流亡、父亲身份和殖民暴行等问题。
Mr Sy has never spoken Peul on screen before, even though he grew up outside Paris with it as his mother tongue;
希以前从未在屏幕上说过富拉语，尽管他在巴黎郊外长大时的母语就是富拉语；
his father came from Senegal and his mother from Mauritania.
他的父亲来自塞内加尔，母亲来自毛里塔尼亚。
The decision to use this language, with which many viewers will be unfamiliar, is as enriching as it is bold.
使用这种许多观众都不熟悉的语言，这是一个既大胆，也让电影更丰富的决定。
During the first world war nearly 200,000 soldiers, known as the “Senegalese riflemen”, were enlisted from countries across west Africa to fight for France.
在第一次世界大战期间，来自西非各国的近20万名士兵被征召入伍，为法国而战，他们被称为“塞内加尔步兵”。
If the film itself struggles, disappointingly, to engage the viewer, it has the merit of highlighting their sacrifice.
即使这部电影本身令人失望地难以引起观众的兴趣，它也有凸显这些士兵所做出的牺牲的优点。
In this sense it achieves for west Africans what Rachid Bouchareb’s “Indigènes” (“Days of Glory”), did in 2006 for the north African soldiers who fought for France in the second world war.
从这个意义上说，它为西非人所做的相当于拉契得·波查拉的《光荣岁月》(2006)为二战中为法国作战的北非士兵所做的事情。
When “Tirailleurs” came out, the French government agreed to change a rule that obliged surviving veterans to spend half the year in France in order to receive a state pension.
当《狙击兵》上映后，法国政府同意改变一项规定，这项规定要求幸存的退伍军人必须在法国呆上半年才能领取国家养老金。
The film not only made sure that African-French voices were heard, but also that they were taken seriously.
这部电影不仅确保非洲裔法国人的声音被听到，而且确保他们的声音得到认真对待。
