The Malian Salah, who runs a flourishing tourist agency, is called a white man by his family, friends and wife. He denies this, but confirms that his modern ideas meet with opposition.
With a colleague, the Malian Salah Salahina Sounfountera runs a flourishing tourist agency that guides foreign visitors. Director Margriet Jansen films him while accompanying a group of German women, who all praise him. But his family, his friends and even his candid wife all call him a toubab, a white man, in interviews. Not on the outside, but within. 'He doesn't want our son to acquire an African character', his wife claims. Salah denies this, but confirms that he thinks differently about many issues: 'Africans should be more competitive.' Incorporating images of daily life, the cities and the sunny landscape, Jansen places the modern thinking Salah in the centre of the traditional Malian society. Despite the resistance, Salah keeps fighting for his rights, like when he furiously demands the water supply be restored: 'Imagine I would treat my customers like this!' Nevertheless, he cannot get round the fact that his family wants to see him pray.
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