In 1941, Suzanne Roussi Césaire founded the magazine Tropiques together with René Ménil and her husband, Aimé Césaire. The magazine had an undeniable influence on the development of black thought in the Antilles (extension of the ideas of the Négritude movement) and its dialogue with Surrealism. But, for reasons that we all know very well, only the name of Aimé resonates when talking about this. Suzanne's...not really. With a spirit of recognition and reinvention of the archive, Madeleine Hunt-Ehrlich recovers the figure of this important thinker in her first feature film, The Ballad of Suzanne Césaire, exploring her inner and outer world. The work of this African American director and artist is replete with female figures from the African diaspora, focusing on those black women who were forgotten by the white and male canon. The film moves away from the typical biopic conventions and proposes a metalinguistic game that connects the story of an actress who reads fragments of Césaire's writings with images that emulate the surrealist language of the poet. So, it is an exercise of historical memory that proposes a dialogue between fiction and archive from the image, conceiving a world in which Suzanne Césaire's trace has not been erased. The Ballad of Suzanne Césaire proclaims itself as an imaginary biography: an attempt to reconstruct the memory of a woman, like so many, turned into a ghost. DANIELA URZOLA