Movie Release: Youssou N'Dour: I Bring What I Love

An award-winning director brings in the noise with a true tale of music vs. tradition

Jake Chessum
Elizabeth Chai Vasarhelyi calls Senegalese singer Youssou N'Dour the "Bono of Africa," but he's not such an easy guy to pin down. Both a musician and activist—hero to some and pariah to others—N'Dour's impact is as unique as it is wide. Vasarhelyi spent five years chronicling his story for Youssou N'Dour: I Bring What I Love, a film about the African pop star's life.

The first half of the movie delves into N'Dour's musical awakening, when he inherits his grandmother's love of song. Though his career blooms into full-fledged stardom, when he begins singing about human rights and his issues with Islam, he angers his Senegalese neighbors for whom free speech about religion has always been off limits.

The film is anything but black and white. In one scene, N'Dour's frantic brother is explaining why his pop-y music just won't fly on certain Senegalese radio stations. "You play, `Allah, Allah,' and then you take that off, and you put on `G-Spot' or `One Night Stand.' These things don't go together!"

Much of this magically moving film consists of clips from N'Dour's wildly lively shows; whether in his home of Senegal or at Carnegie Hall, the artist is always met with cheering crowds and sold-out arenas.

ELLE got a chance to talk to the Elizabeth Chai Vasarhelyi, the woman behind the music.

When did you first hear Youssou's music?

Many people who will see the film will realize they've always heard his voice—they just didn't know it was Youssou. When I first heard him perform live at Carnegie Hall, that was just a life-affirming, if not ecstatic, experience. I had no idea what he was singing about; I had no idea where he was from. I was walking in quite cold. It just transported me. You feel that much more alive.

Have you had to deal with any backlash from Muslims who were upset by the film?

I think you can't please everyone.

Did you consider the impact the film would have on Muslims in the U.S.?

That was one of the reasons why I wanted to make it. It wasn't just that I considered the impact on Muslims, but also on non-Muslims' perceptions of Muslims. It was kind of about the dialogue, about the communication.

You often had to wear traditional clothing and follow strict religious rules while living in Senegal. What was that like?

Very warm. Unless you've actually worn a veil, [you don't know] how hot it is. The Senegalese traditional clothing is absolutely beautiful—it was really fun. I have reused various pieces of my traditional outfits in New York, be it scarves or skirts. You really learn about another culture when you try to dress like they do.

There's a powerful scene in the film where a sheep is slaughtered in Youssou's home. What was it like to film a sacred religious ritual?

Youssou didn't actually slaughter it himself. What they'll do is touch the shoulder of the person who is actually doing the slaughtering—you'll notice the whole family is behind them touching Youssou, so they're all part of the act. There were about nine sheep slaughtered that day, one for every family member. But I have to admit, it was some of the best lamb I've ever had. It was delicious. And as they kept on telling me, it goes straight to heaven.

The film got a great reaction at the SXSW festival in Austin, Texas. Were you ther e?

Yes, it was great. I think our film played before Iron Maiden and after Bill Withers, and you know, that was awesome.

How can you hope to top a film that was so inspirational, and clearly so close to your heart? What's the next move?

We'll see. I always have to be working on stuff, because that's how I stay engaged. I shot another film at the same time about a religious pilgrimage, because it was just so beautiful. So we're editing that film. But I'm definitely talking about fiction projects. For me, a story's a story, so I imagine I'll be dabbling in both.

Visit the film's websitefor more information.

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