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谭松韵,刘学义,李梦,郑合惠子,郭柯宇,吴甜甜,叶青,蒲萄,宋芳园,李嘉鑫,刘佳玺,牛骏峰,苏可,侯长荣,陈创,孔令美,魏子昕,吴晓东,严晓频,章申,刘美含,贺鹏,嘉泽,郭迦南,汤梦佳,马凡丁,关畅,赵秦,李泓良,吴天琪,柯蓝,董晴,沈泰,孔连顺,张铎,邬家楷,叶筱玮,马闻远,辛鹏,姚一奇,赵梓冲,辛浩江,王佳璇,王玉宁,孙仲秋,郑卫莉,王艺禅,王亚军,周知,奚望
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志藤春道,小野凉子,冈本理绘
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弗朗西斯科·迪·莱瓦,Mario Di Leva,阿德里亚诺·潘塔莱奥,Valeria Colombo,Giuseppe Gaudino,朵拉·罗马诺,基娅拉·切洛托
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钱文青,杨天翔,杨默,歪歪,谷江山,乔诗语,佟心竹
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马伊琍,王佳佳,张哲华,向涵之,付航,王天辰,任彬,董宝石,刘佩琦,艾丽娅,耿乐,赵龙豪,吕星辰,蒋诗萌,土豆
Med Hondo uses this tracking shot to establish the setting of his feature film West Indies ou les nègres marrons de la liberté (1979), while opening up a much larger space to the imagination at the same time. The ship turns out to be a most versatile stage for a grotesque narrative of colonialism, slavery and the struggle for independence in the French West Indies. Med Hondo explores his many themes in this limited space, whether it be the Middle Passage, marronage, abolition or the history of labour migration to France. The film marries an aesthetics of thrift with the flamboyance of a musical; different time periods glide into one other as elegantly as the geographical points of reference; and only occasionally do the actors’ visible exhalations, an alienation effect created by the cold, remind us that West Indies was not shot on Martinique.