The Last Horizon
A film by Thémo Anargyros & Thomas Defert
Certificat Hugo n°01GX3TT8707JMJVZXR998JW9EG
Short Trailer (2mn)
Our documentary takes place in Ngor, Senegal, the most western village of the whole African continent.
Senegalese call it the place where the Horizon fades.
And lately, that name feels all too real.
Synopsis
Ngor used to be a paradise for fishermen, but industrial trawlers and political corruption have left its waters nearly empty. In the midst of this, Bayedjip, the village’s oldest and most respected fisherman, refuses to give up. Like Hemingway’s Santiago in The Old Man and the Sea, he’s determined to land one last blue marlin. It’s not just about the fish—it’s about holding on to himself in a world that’s slipping away.
Bayedjip raised his two nephews, Alyou and Modou, like sons. He passed down his love of the ocean, and his fishermen’s pride.
Alyou, the eldest, carries on Bayedjip’s legacy as a skilled fisherman. But he’s not just fishing—he’s looking for answers, exploring new technologies and ecological solutions to help restore the sea.
Modou, the youngest, is torn. Does he stay and fight alongside his brother? Or does he risk everything—again—on a dangerous journey on the ocean to Europe?
Long trailer. (4mn)
Political shift
On November 17, 2024, Senegal ended its fishing agreements with the EU, driving industrial fleets away from its shores. Could this be the dawn of a new era—a chance to reclaim power for local fishermen—or just another hollow political promise? For Ngor, the stakes couldn’t be higher. With the possibility of the sea recovering and the community uniting, a new horizon could emerge, one that reshapes their future.
Context
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In Senegal, the land of "teranga" (hospitality), fishing is one of the cornerstones of the national economy. The legendary wealth of its marine resources has been sustaining the country for centuries.
Fishing is central as it contributes to the food security of both coastal populations and those in the sub-region. It is a comprehensive and self-sufficient economy that supports millions of people: fishermen, net repairers, shell breakers, scalers, fishmongers, fish smokers, mechanics, carpenters, boat repairers, and more.
Today, Senegalese people find themselves dispossessed of their own treasure. This trend began in 1979 with the first fishing agreements between Europe and Senegal (agreements that were never made public). European trawlers, followed by boats from around the world, then invaded Senegalese waters, all eager to get their share of the loot.
Currently, trawlers possess nets that go deep, destroying all habitats of marine fauna and flora. It's 6,000 tons of fish caught per day heading abroad. In just one week, these boats catch what artisanal fishing obtains in a year. The loss is enormous: 275 million euros per year.
Despite new fishing agreements (signed in 2014), the situation has become unmanageable. Foreign vessels exploit a legal loophole: by using a Senegalese flag and a proxy, it becomes legal for them to fish. In addition, there is a fleet of illegal boats coming from around the world. They are ubiquitous and shamelessly pillage. These pirate boats are so numerous that it is almost impossible to combat them.
A new phenomenon is now jeopardizing Senegal's food sovereignty. Fish caught by Senegalese, which used to be smoked or dried and sold to the population, is now purchased by fishmeal factories and sent abroad. This is equivalent to the annual food of 30 million people in West Africa disappearing in favor of farmed fish, pigs, or chickens. It's worth noting that the Senegalese population is 11 million inhabitants.
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Located north of the Cape Verde Peninsula in Dakar, Ngor is a fishing village. Its history dates back to the 16th century when migrants from the interior of Senegal sought to settle in the region. According to a certain oral tradition, four Lebou families, all led by women, established themselves in Ngor. The village is thus inhabited by the Lebou ethnic group, which translates to "those who go to sea." Everyone in Ngor earns a living from fishing and its resources: fishermen, skippers, surfers, swimmers, fishmongers, cooks, artisans, mechanics, and more.
In Senegal, and particularly in Ngor, artisanal fishing is what sustains the local populations, while the products of industrial fishing are often exported abroad.
Artisanal fishermen possess a knowledge of the sea that has been passed down and refined over the centuries—from the use of primitive navigation tools and archaic fishing gear to the introduction of highly modern equipment such as GPS and sonar. The adaptation to new fishing gear reflects the evolution of society and a shift in mentality: unable to compete with industrial fishing, artisanal fishing seeks its place, sometimes at the expense of the Lebous' ancestral respect for the sea.
Like in many regions worldwide, a fishing village is trying to adapt to survive.
The Lebu Ethnic Group
For centuries, the Lebu community has maintained a sacred and profound relationship with the sea.
Lebu villages, more than mere neighborhoods within the Dakar metropolis, are actually true family concentrations. Every decision requires the approval of a village representative. This emphasis on family and tradition is also evident in religious beliefs, particularly in their relationship with the ocean, infused with spirituality and constitutive of their identity.
The Lebu people perceive the sea as a living being, almost human, interpreting each wave, current, and storm as a sign. This special connection is crystallized in their rituals, songs, and legends. They believe in the existence of benevolent or malevolent sea spirits, to whom they regularly pay homage to protect fishermen and ensure a fruitful catch.
However, the 21st century has brought significant disruptions. Globalization, coupled with the intensive exploitation of Senegalese waters by foreign fishing fleets, has threatened not only their economy but also their cultural identity.
The impact of modernity and globalization has created tension between generations. Many young people, after acquiring formal education, choose to leave their community for Dakar, leaving behind ancestral traditions. These departures are frowned upon, with those who remain accusing them of neglecting the essential fishing tradition that is integral to Lebu identity.
Today, the relationship between the Lebu people and the sea stands at a crossroads. Some seek to reconnect with their roots, while others are tempted by the allure of quick profit. In a village like Ngor, deeply marked by its Lebu population, fishing remains at the center of life, regardless of education level or profession.
For the Lebu people, the stakes are high: how to reconcile modernity and respect for tradition, profit and the preservation of identity? The answer to this question remains uncertain.
Synopsis
Synopsis
At 70, Bayedjip is the oldest fisherman in Ngor. A towering, highly charismatic figure: his story embodies the gradual plunder of Senegalese waters by the fishing industry. Every morning, he ventures into the open sea, alone on his boat, hoping to catch whatever remains in a depleted ocean.
On the verge of giving up his line, destiny presents him with a providential encounter: the grand blue marlin, 500 kg force of nature, a legendary fish for the Lebu ethnic group (literally those who go to sea).
Bayedjip is the Santiago of Hemingway's novel, but he does not endure the whims of fate; the absence of fish is the tangible result of political and economic decisions made over several decades.
In this struggle for his family's subsistence and the survival of his Lebu identity, will Bayedjip have the strength to venture ever further to find catches he no longer expects? Will the relentless assaults of the industry overcome his ancestral connection to the sea? And in this unexpected battle against the blue marlin, will he manage to summon the spirit of Lebu identity to triumph?
On land, the community, relying entirely on fishing and its trade, creates a parallel with Bayedjip's story at sea. Modou, his nephew helplessly witnesses the decline of the once flourishing trade. Convinced that the future of fishing is condemned in Ngor, he seeks hope elsewhere, further: in Europe.
Aliou, Bayedjip's other nephew, and Modou’s older brother, has not given up on his family's tradition and goes tirelessly offshore, desperate to find money to cure his sick son Booba. Their mother, Maimouna, Bayedjip's sister and Mbodjie his niece both work on the market and try to sell whatever the men catch at sea.
Through the complementary perspectives of those men and women, a story of respect, transmission and hope unfolds. It is the portrait of a fishing village fighting for its survival.
In the Lebu community, each gaze toward the horizon promises a different quest.
How does generations subsist, resist, or reinvent their selves? How does one contemplate the world, inhabit it, and preserve an ancestral culture when one's own village lacks perspective?
Musique
The characters
Bayedjip,
Bayedjip, whose real name is Djibril Sambe, born in 1953, is the oldest fisherman in Ngor. He has been in love with the sea since his early years, fascinated by its expanse that surrounds his village and life.
He witnessed his father Momar and his grandfather Mamadou go to sea every day. Too young to join them, he defied the prohibition alone on a board to secretly go out fishing. At the age of seven, he started fishing on his grandfather's canoe. At that time, Bayedjip recalls that the waters were teeming with fish. It only took a few minutes by canoe to catch abundantly, not having to go further than in front of his home in the bay of Ngor.
Bayedjip's relationship with the sea extends beyond fishing; he was a windsurfing champion multiple times. He started at the age of 19 by borrowing broken boards from Europeans. Thanks to his knowledge of the sea and wind, he quickly surpassed other practitioners despite his outdated equipment. He became the champion of Africa in 1976 at the age of 23. He even made it to Olympic games in Moscow in 1980.
Bayedjip holds a special place in the village community. Everyone knows and respects him. He is a figure of resistance and strength, embodying honesty and firmness.
For the youth, he represents an era, a generation. Despite his reserved character, Bayedjip is loved by the youth who want to learn from him. His almost instinctive knowledge of the elements and mastery of technique make him one of the best fishermen. Against all odds, in the midst of a storm, he is often the only one to set out on his canoe. He wrestles barehanded against marlins weighing up to 700 kg, against 300 kg blue tunas, and other giants of the sea. Using nylon thread and a hook to overcome them, Bayedjip is a true force of nature.
Bayedjip has made fishing his life, going to sea every day on his small six-meter-long by one-meter-wide canoe. Today, to find fish, he has to go to the edge of the open sea, sometimes more than 60 km from the coast without GPS.
At the beginning of the documentary, we understand Bayedjip's urgent need to find fish. A reserved and complex character, he reveals himself in the final battle with the marlin.
The rainy season has been tough, and the sea has been stingy. Bayedjip struggles to meet his family's needs.
At sea, he faces setbacks, jumping at every tension in the line. His encounter with the blue marlin comes as a moment of clarity, where perseverance, connection to nature, and the resurgence of his identity as a Lebu fisherman come together. Physically and mentally tested, Bayedjip regains his essence at that moment, and the battle he is waging is one of ancestral pride against the modern world, of destiny imposed by decades of dispossession, and the deep desire to regain control of the sea. The fish then becomes a symbol of the sea, its resources, and the desperate quest to preserve this vital connection. Triumphant over adversity, a celebration of the intimate connection between man and nature, Bayedjip's figure is a call to the resilience of his community in the face of future challenges.
The Sambe Family
The Sambe family embodies the complexity of the challenges faced by the coastal village. Bayedjip, the iconic fisherman, symbolizes the struggle against the degradation of the waters. Modou represents the youth aspiring to reach Europe, Aliou embodies resistance to departure, while Mbodjie oscillates between aiding departures and protecting those who stay. Maimouna, the mother, testifies to the impact of the crisis on fishing. Together, they reflect the tensions between traditions, individual aspirations, and economic realities, providing a poignant insight into the challenges faced by Ngor.
Modou
Modou, 23 years old, is one of the four children of Maimouna Sambe, the younger sister of Bayedjip. His father left the family when he was 6 months old, and his uncle, Bayedjip, had him on his boat from a very young age, instilling in him a love for the sea and the infinite. His mother, a Ngoroise, Lebu, Muslim, and fishmonger (selling fresh fish at markets), introduced him to the terrestrial and feminine aspect of fish. A vast world consisting of salters, fish smokers, and fish sellers. A noisy and colorful world that sparked his interest in encounters and exchanges.
But Modou also represents a generation whose eyes are no longer fixed on the vastness of the sea but on the "open sea": Europe. He wants to undertake a clandestine crossing aboard a boat, heading towards the Canary Islands, the gateway to Europe. Modou is determined despite the numerous stories of failures, sometimes with fatal outcomes. Some of his friends have unsuccessfully attempted the crossing, stopped for many just a few kilometers from the European shores and sent back to Ngor.
Aliou
Aliou, 30 years old, is the elder brother of Modou. Like Modou, it was only natural for him to become a fisherman. Bayedjip taught him everything. Depending on the seasons, he adapts, going fishing with his brothers in a boat, diving to collect crustaceans. But like his mentor, Aliou prefers to go alone on his boat to fish for the blue marlin.
Aliou is a deeply realistic character. He is a central figure in Ngor, around whom several generations and aspirations revolve. There are those who want to take to the sea for Europe and those who want to mend the sea for Senegal. Aliou does not want to go to Europe like his friends; he wants to continue fishing and living in Senegal. He goes to sea every day to earn a living and pay for the treatments for his 3-year-old daughter who is sick. He says, "If I go to Europe, it's with papers, i don’t want to become an illegal immigrant chased through the streets."
The figure of Aliou stands out from that of other young people who, like his brother Modou, spend their day on the beach watching him pass by, tired of working, dreaming in their corner of a fantasized Europe. Aliou is one of the most respected "big brothers" in the village. He embodies the duality of a generation torn between the modern world, capitalism, the lure of profit, and the preservation of the ethnic identity of the Lebu people.
Mbodjie
Mbodjie is the elder sister of Modou and Aliou. A fishmonger, she depends entirely on fishing to survive and has had to take over from her unemployed fisherman husband. Forced to contribute almost single-handedly to the needs of her family, she maneuvers as best she can to find money. Mbodjie is a major figure in the village of Ngor, the feminine counterpart to Aliou; she is consulted by the youth and serves as a big sister figure to many of them.
Her role is ambiguous; she is both an organizer of the departures of young men to Europe (providing logistical and financial assistance) and very anxious for them, trying to protect them. This ambivalence in Mbodjie is evident in her relationship with her younger brother Modou.
Maimouna
Maimouna is the mother of this siblings. A scaler, she has always had her hands in fish, a privileged witness to the evolution of Senegalese fishing. A helpless witness to its decline, she says she can do nothing to prevent her children from leaving for Europe. On the day her son, Modou, announces his departure, the only advice she can give him is to perform his daily prayers, the only means of protection against the daunting journey that awaits him. Like Bayedjip, Maimouna embodies a guardian of the temple and the culture of the Lebu people.
The supporting characters
The Lebu women
Deeply matriarchal, the Lebu culture gives a predominant place to women, far from being confined to the role of housekeepers. These women are at the forefront of the consequences of ocean plunder. Indeed, as a vital second line, their work is entirely dependent on fishing: they buy fish from the fishermen, sell it at the market, smoke it, or dry it. Some even dive to collect sea urchins and other crustaceans to grill.
Raised by the mother's family, children are subject to matriarchal authority that embodies strength and resilience. The women of Ngor are therefore tutelary figures as much as the men, and their presence at the heart of the film is crucial: as bearers of traditions, guardians of the temple, they are always there on the edge of the frame.
The Lebu youth
A constant backdrop to village scenes or returning from fishing, the youth are, as much as the women, present at every moment in the life of Ngor.
Witnesses to the determination of their elders who take increasing risks, going farther and longer in the hope of providing for their families, they cast a disillusioned eye on the life of a fisherman.
Although tempted by fishing, they question their future and the viability of this ancestral activity. In a deadlock, some turn to a chimera and its sirens: Europe. They believe they will find a better life there and pay little attention to the warnings of their elders about the reality of the journey or life there.
Their voice as challengers of a tradition in decline allows us to address the possible extinction of an ethnic group and its culture.
Around Aliou and Modou, a cohort of young individuals from the village of Ngor gravitates, forming a complex web of dreams and aspirations. These young people observe with fascination the divergent choices of the Sambe brothers, grappling with the temptation of emigration to Europe and the determination to stay rooted in their lives as fishermen in Senegal. The eager gazes of the youth, captivated by the trajectories of Aliou and Modou, bear witness to the palpable tension between tradition and modernity that shapes the daily life of Ngor. These emerging figures, inspired by the decisions of the Sambe brothers, become protagonists in their own stories, contributing to the rich narrative of the documentary.
Directors’ statement
Over the course of our years in Senegal, living in a new culture, discovering a new way of seeing the world, and being passionate about fishing, we headed straight to the sea.
We formed a friendship with Modou, a young fisherman from the village. He shared his attempts to migrate to Europe, his love of fishing, and his anger against the practices of foreign industrials ships plundering Senegalese waters.
Modou introduced us to the closed community of Ngor. Over the years and many sea outings with artisanal fishermen, we delved into their difficulties, becoming aware of their dramatic situation, deprived of their resources. The elder fishermen of the village told us their stories. Among them, we met Bayedjip, the oldest active fisherman in the village.
At 70, he is respected for what he embodies and for his fight: his determination to continue going to sea, no matter the cost. We immediately sensed what he represented, even before he spoke. His gaze and gestures exuded exceptional strength and resilience in the face of adversity, qualities we had rarely witnessed. The respect he commanded from the village youth as he walked the streets gave him an air of a prophet.
By accompanying him often, we understood the extent of his experience and technical skill. We witnessed fishing scenes reminiscent of those described in Ernest Hemingway's novel: "The Old Man and the Sea." The palpable respect between man and animal struck a chord with us.
Meeting Bayedjip was a powerful and unforgettable encounter. With his charisma and dignity, he alone embodies all the people fighting for the survival of their culture.
Having had the honor of being integrated into this village and witnessing this dispossession, the imperative to tell this story emerged.
Narrated through the ebb and flow between the sea and the land, the storytelling creates a visual symphony reflecting the deep connections of the Lebu people to these two worlds. Like a tide, these transitions reinforce the simultaneous exploration of the timelessness of the sea and the reality of the village of Ngor.
We dive alongside Bayedjip, at sea, experiencing the thrill of deep-sea fishing, feeling the tension between man and fish, and sharing intimate moments of reflection facing the vastness of the ocean. Then, like a wave reaching the shore, we are transported to solid ground, in the heart of the village of Ngor, where daily life unfolds in a lively and bustling choreography: worried glances, animated discussions on the beaches, fish preparation gestures, and market exchanges mark the essence of local life. Although two narrative lines intertwine, some scenes on land bring the family together.
Around Bayedjip and his family, women and young people within and at the edge of the frame form the backdrop of the Ngor landscape. The sea is ever-present in the film; even when not on the screen, the protagonist’s conversations are linked to it. In a certain way, it is the main character of the film in all its complexity.
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"The Last Horizon" is The Old Man and the Sea in 2024. By invoking the audience's familiarity with this globally renowned and translated novel, the narrative establishes an easy connection with the viewer.
However, the true power of the film lies in the fundamental difference between these two stories.
In The Old Man and the Sea, Santiago's lack of catches for 84 days illustrates the harsh reality of fishing, where luck and the whims of the sea can play a crucial role in the success or failure of an expedition. Santiago, the protagonist of the novel, faces the relentless reality of the ocean, its cruelty, but also the respect he must hold for it.
However, in our narrative, the parallel stops there. The similarity to Bayedjip's situation lies in the absence of catches at sea, but the reason differs. While Santiago undergoes the whims of fate, Bayedjip's lack of catches is the tangible result of political and economic decisions made over several decades.
In the visual approach of the film, we draw inspiration from the award-winning documentary "Honeyland," directed by Tamara Kotevska and Ljubomir Stefanov. This cinematic narrative of the last person to harvest honey traditionally in the mountains of Macedonia captured the essence of a world that is both raw and elegant, using imagery based on a mix of wide shots and attention to detail to tell a profoundly human story. Like Honeyland, we will seek to exploit each shot to reveal the grandeur of nature, the harshness of daily life, and the uniqueness of the lives of the Lebu people.
In terms of storytelling, our inspiration comes from "The Mongolian Rider," directed by Hamid Sardar and produced by Les Gens Bien Productions. The way this film portrays a captivating story filled with vast landscapes while preserving the authenticity of traditions in the face of modernity guides us in our quest for a balance between visual spectacle and a narrative deeply rooted in local culture.
These two works, in their singularity, merge the majesty of nature with the intimate quest for identity.
Themes Explored in the Narrative
The Dispossession of Fisheries Resources: At the heart of the narrative lies the devastation of the once-prosperous fishing zones of Ngor. The overexploitation of marine resources through unsustainable industrial practices has created an unprecedented ecological crisis. "The Last Horizon" addresses the consequences of this dispossession, resulting in much more than a simple loss of income.
Lebu Identity: Delving into the heart of the Lebu community, the film explores its cultural identity and peculiarities. It exposes the Lebus' relationship with the sea, with their cultural and economic life deeply intertwined with the ocean.
Relationship with Nature: The core of the film lies in reflecting on the relationship between humans and nature. How does this relationship evolve when the environment essential to a community undergoes irreversible transformation? This documentary prompts contemplation on how nature shapes us, our choices, and our destinies.
Emigration: The documentary explores the Lebu youth aspiring to go to Europe; the painful journey of Modou, who attempts clandestine migration, along with Ngorois who returned disillusioned after migrating. This exploration of emigration serves as a mirror to the quest for identity.
Fish Aggregating Devices (FADs) and Marine Repair Solutions: Fish aggregating devices (FADs) are both an attempt to regenerate fishery resources and a source of pride for being a fisherman. "The Last Horizon" explores this solution used in the village of Ngor and elsewhere, questioning their effectiveness in restoring the fragile balance of the sea. Can these devices contribute to preserving Lebu culture and restoring the ancestral connection between humans and the ocean that confronts them?
The themes that permeate the documentary are integrated into the narrative and are readable through the characters embodying them. The relationship with nature and its power is embodied by Bayedjip and his struggle against the elements and the giant marlin. Modou, witnessing the evolution of his village's resources, allows us to understand the dispossession of Senegalese waters, leading him to ponder emigration. Lebu identity and its uniqueness are illustrated by village life and the supporting characters in the film, such as the women and young Ngorois who are always in or on the edge of the frame, a true backdrop to "The Last Horizon". The sea, with its myriad faces, is ever-present.