Aïssa Maïga Bio, Wiki, Age, Movies, Net Worth, Marriage, Husband
Aïssa Maïga Wiki
|Is Aïssa Maïga married?||Yes|
|How many children does Aïssa Maïga have?||2|
|Who is Aïssa Maïga spouse/partner?||Unknown|
|Is Aïssa Maïga Dating Someone?||Unknown|
Aïssa Maïga Factsheet
|Full Name:||Aïssa Maïga|
|Birth Date:||May. 25, 1975|
|Birth Place:||Dakar, Senegal|
|Father’s Name:||Mohamed Maïga|
|Net Worth:||$1 million|
|Eye Color:||Dark Brown|
Who is Aïssa Maïga?
When was Aïssa Maïga born?
Aïssa Maïga was born 25th May 1975, she is 44 years old in 2019
View this post on Instagram
Years active 1997–present
Aïssa Maïga is a Senegalese born French actress.
Where was Aïssa Maïga born?
Aïssa Maïga was born in Dakar, Senegal to a Senegalese mother and Malian father. She relocated to Fresnes in France with her mother at a very young age where she was till age 9.
Aïssa Maïga movie career
She developed an interest in acting developed from watching good movies at a very tender age, she started acting in a school field trip to a theater, she was able to slip away from her teacher and make her way backstage.
She had her first acting classes with Daisie Faye while she was in high school. Today, Aïssa Maïga is well respected for her more liberal curriculum as an artistic director of Jazz and comedy festival.
In 1992, when she was just 14 years she was part of a musical comedy titled Longest Night* by her teacher
Aïssa Maïga Education
After 3 years of studying in high school, she graduated and proceed to work on a new project Eric Cloué’s Le Royaume du passage in Zimbabwe. She
She graduated from high school after three years of study, including theater studies and worked on an artistic project in Zimbabwe, Eric Cloué’s Le Royaume du passage. She was 19 years old. Working with local actors in Zimbabwe, she discovered street theater and decided to become an actress.
Aïssa Maïga Movies
La revanche de Lucy
Le cadeau de maman
mois de réfiex/on
Jonas et Lila, demain
Llse et André
Georges chez les tops
Mes ne sonl pas comme les autres
Rien Oue du bonheur
Les Cordie,•; luge et flic
L reste, reutre part
Travaux, on salt quand commence. , ,
Sometimes in April
Paris, je t •aime
Dont I’Vorry “m Fine
Mamdou i,’ est ?
L’ ‘ge dhomme… maintenantou jamais !
Slack and White
Sen Okra and Saeed Butter
L Side au
Pas de toil sans moi
Suite no ire
Le temps de ‘a kermesse est terminé
Aïssa Maïga Achievements & Awards
With the view to consolidate all of her learning experiences, she decided that going back to study is the ideal thing. Now it was with Hélène Cheruy Zidi, at the She featured in the role of Kassia in Kapiche’s Poupés Russes and in Claude Berry’s L’un reste,l’autre part in 2007.
The actress has proved her worth contributing a great deal to French cinema, this she does through a series of unexpected roles and collaborations in movies like what we see in Je vais bien, ne t’en fais pas with Melanie Laurent and in Oliver Schmitz’s short “Place des Fetes” in 2006’s Paris, je t’aime.
She was nominated for a Best Actress César in 2007 for her role as Melé, a disillusioned bar song-performer in Abderrahamane Sissako’s Bamako where she sang Christie Azuma’s “Naam” without a knowledge of the language.
Her role as an African mother who tells the story of African intellectuals’ immigration with a view to the life of French rapper, Kamini and family in the 2016 movie Bienvenue à Marly-Gomont.
Aïssa Maïga Interview
She is of the assertion that black female actors are not and should not be reduced to the color of their skin, absolutely because in France today despite the fact that our country is very diverse in terms of ethnicity, French cinema is mostly white.
There’s an organization that is called uniforms which is specialized in the export of French cinema yes and the director Isabel Giordano told me that the film’s that really work in terms of expert are the films with a lot of diversity yes so the entire world has no problem with the French cinema being a cinema of diversity it’s within the country itself. There’s a lot of resistance!
I think that the way history is taught, the heritage of French cinema, the fact that most people in the industry who make films, who financed films are white maybe this is you know part of the reasons why the French cinema is so white and I mean not all people are racist.
The differences are huge in France we’re very afraid of having these terms of policy of quartet quarters and I don’t have the solution but I think that we should all sit at the same table and start a real discussion because it’s kind of very urgent to give a solution because the young people here in France today who come from diversity never see themselves in the screens.
They don’t exist! they have no value that is valuable so I think it’s a very negative process for them and that today the responsibility of people in the industry yes and also of people who make policy to make very important decisions
The first thing is that we have to admit that we are one country yes and that we have to include all the differences within the country because if you give people the feeling that they don’t belong to the country you’re losing some strength.