Dakar, a few days before the feast of Tabaski, a painter is shut away in his studio, working on the theme of the ritual sacrifice of the ram. Sketches are hung on clotheslines to dry. The red paint drips from the drawings like fresh blood. An inscription on the wall: 'Tabaski, who's next?'. Three characters and a sheep revolve around him and reconnect him with reality. This hybrid movie, blending fiction, performance and history, is freely inspired by the painter Iba Ndiaye (1928- 2008) and his work entitled 'Tabaski'. 'Painting is remembering', he said.

Everything started at the lighthouse bar, during Booz's concert. Ben, the trumpet player, dies onstage. The next day, his wife Esther places Ben's trumpet on his grave and taking Booz's hand, she says: Now you must take care of me.

It all started with a dream: "It's time for you to try to explain the mysteries! Find the griot who'll bring you to me, and when you recognize me, circle around me three times, rub me with buttermilk, and let me know what you want. But be careful: don't forget the buttermilk!" That's how I was drawn into the boabab's spirit. It was in the year 2000. The year of the "Sopi". If the boabab was Senegal's emblem, through the tree, I should understand the country.

A trendy taxi-driver races through the streets of Dakar. His passenger is a western, blonde young lady who doesn't seem in the least interested in her surroundings. He tries to catch her attention and breaks the silence by saying: 'I can even see the wind pass by.'