NFU: I noticed that Linguère Ramatou has an Asian bodyguard in Hyènes. How does she fit into this schema?
DDM: The point is not that she is Asian. The point is that everyone in Colobane—everyone everywhere—lives within a system of power that embraces the West, Africa, and the land of the rising sun. There is a scene where this woman comes in and reads: she reads of the vanity of life, the vanity of vengeance; that is totally universal. My goal was to make a continental film, one that crosses boundaries. To make Hyènes even more continental, we borrowed elephants from the Masai of Kenya, hyenas from Uganda, and people from Senegal. And to make it global, we borrowed somebody from Japan, and carnival scenes from the annual Carnival of Humanity of the French Communist Party in Paris. All of these are intended to open the horizons, to make the film universal. The film depicts a human drama. My task was to identify the enemy of humankind: money, the International Monetary Fund, and the World Bank. I think my target is clear. [x]