Samba

Un drama social del que nos olvidaremos mañana mismo sobre un afroamericano sencillo y bueno que no lo tiene fácil siendo emigrante ilegal en París. (25.05.2015)

Los franceses son muy buenos en esto y realmente lo dominan. Una comedia triste con elementos dramáticos y un fuerte subtexto social, ese es el género en el que los franceses destacan y superan a los demás por mucho. El exitoso dúo Toledano-Nakache nuevamente se luce con Omar Sy y aquí tenemos otra exitosa película que triunfa tanto entre la crítica como entre los espectadores. Dado que no tenía ni idea de qué película iba a ver, ingenuamente creí, al menos durante los primeros cinco minutos, que iba a ver una película sobre baile. No me importaría, pero la historia de un inmigrante senegalés llamado Samba me proporcionó una dosis suficientemente fuerte de emociones, actuaciones de calidad y bromas a veces desquiciadas interpretadas por el generalmente más serio Tahar Rahim. Y cuando ves una película tan bonita con personas a las que quieres, la experiencia es aún más intensa. Una vez más, mi país de cine favorito no decepcionó. (23.03.2015)

The first major disappointment from the duo of Omar Sy and Eric Toledano (The Intouchables). While the film nicely depicts the fact that immigrants have it tough in France and Omar Sy can be as good as he wants, no one has mercy without papers. There is very little humour, but there is no boredom. If you're in the mood for a topical social drama that's well acted and filmed, it's fine to watch. 65%. (06.11.2017)

Nakache and Toledano excel in telling a story of a random encounter of two completely different people with ordinary problems and connecting two completely different worlds in a way that will leave you with a really good feeling after you watch their movie. It was just as perfect as The Intouchables and you’ll fall in love with this movie just the same. There might be one problem – Samba is even more topical nowadays than it was when the movie came out, even worldwide. When I saw this movie, an outrage was storming through Europe about the refugees that were trying to get from the Near East to the West and the media made it very topical; even more topical than before, and it was already quite topical since this movie was talking about it. But a lot of people get annoyed by topical issues and I’m sure it will be the same with this movie. However, as for me, I must say that Omar Sy and Tahar Rahim have showcased such strong acting performances that it was hard not to love their refugees. In the end, you realize that these issues aren’t about groups of people, but about individuals. But you can’t separate, so we’ll always talk about them as groups. (29.06.2015)

This is ultimately a daring endeavor by Olivier Nakache and Eric Toledano. Once again, they reach the viewer through unobtrusive music by Ludovico Einaudi, score points with their topicality, and most importantly, rely on the overwhelming charisma and disarming smile of Omar Sy. And miraculously, they emerge victorious again. Their intangible weapons, thoroughly tested by now, have lost none of their firepower. Although the entire situation is once again appropriately lightened and in its essence a bit tough to swallow for those working in the social sphere, I am speechless. This is an attempt to tell a story about an issue that the overwhelming majority of people will laugh at, be moved by, and shake their heads at, but ultimately forget once they leave the cinema. And one cannot help but root for such an attempt. (10.04.2015)