In this beautifully photographed and unusually edited approach to documentary about the lives of diverse peoples in Senegal, West Africa, the filmmaker challenges traditional ethnographic studies head-on. Principally, this is achieved by calling attention to its own cinematographic language which Trinh T. Minh-ha summarizes as "technics of framing, angles of view, movement of camera, editing effects and subjection of images to an omniscient commentary or narrative..." Reassemblage is self-conscious in that it places itself-through critical narration and anomalous film devices-outside its subject, an alien, an intruder. Through this filmic distancing, the ethnographer becomes the "Other," and the Senegalese people, a dynamic subject eluding the objectivity of Western eyes.