The Panafrican Film and Television Festival of Ouagadougou (Festival panafricain du cinéma et de la télévision de Ouagadougou or FESPACO) is the largest film festival in Africa, held every two years in Ouagadougou, Burkina Faso. The festival usually takes place in March of every year it is held. Founded in 1969, it has honored a great number of movies whose impact is still felt today. In celebration of the upcoming film festival, below are five of the most celebrated French-language African films (award-winning or not) that have left their mark on an entire generation of movie-watchers.
Ivory Coast: “Bal poussière” (Dancing in the Dust)
“Dancing in the Dust” is a 1988 Ivorian film directed by Henri Duparc. Seen by over 300,000 people in France, this satire of polygamy tells the story of Alcaly (a.k.a. “Demi-God”) who, despite already having five wives, becomes infatuated with Binta, a young woman who has returned home from the big city of Abidjan. See a French-language clip from the movie below:
Gapont [fr], contributor on Allociné in Paris, explains what he found striking about the movie:
Un petit bijou de fraîcheur et de spontanéité. Ce film a la candeur du cinéma de Renoir ou de Pagnol. Petit budget pourtant, acteur souvent amateurs, tourné en super 16mm et pourtant la magie est là, on se laisse porter par ces personnages incroyables. Du vrai cinéma.
A fresh and spontaneous little gem. This movie has the candour of a [Jean] Renoir or [Marcel] Pagnol work. Small budget, many amateur actors, shot in Super 16 mm, yet the magic is there, these incredible characters simply carrying us away. Authentic filmmaking.
Ethiopia: “Va, Vis et Deviens” (Live and Become)
“Live and Become” is a 2005 French-Israeli film by Radu Mihaileanu. In an Ethiopian refugee camp in Sudan, a Christian mother makes her son Shlomo pass as Jewish in order to survive and be included in Operation Moses, which brought many Ethiopian Jews to Israel. Declared an orphan, Shlomo is adopted by a Sephardic Jewish French family living in Tel Aviv. He grows up fearing that his secret past will be revealed. See the trailer below:
Janos451, an IMDB commenter from San Francisco, loved the movie's dramatic intensity:
What makes the film extraordinary – what creates all the crying in the audience – is its honest and effective portrayal of the young refugee's isolation and loneliness, made worse by his belief that his escape is at the cost of his mother's life
The film is based on the history of the Beta Israel (Ethiopian Jews) who, despite their efforts, have experienced a great deal of difficulty gaining acceptance after immigrating to Israel. The movie has seen renewed interest recently as many African immigrants in Israel have been demonstrating for their rights.
Chad: “Un homme qui crie” (A Screaming Man)
“A Screaming Man,” originally titled “A Screaming Man is Not a Dancing Bear,” is a film by Chadian director Mahamat Saleh Haroun, released on September 29, 2010. It received the Cannes Film Festival Jury Prize in 2010. The original title is a quote from “Notebook of a Return to the Native Land” by Martinican poet Aimé Césaire. The film tells the story of 55-year-old Adam, a former swimming champion turned hotel lifeguard in N'Djamena. When the hotel is taken over by Chinese investors, he is forced to surrender his job to his son Abdel.
The blogger at Words of Katarina explains what makes the movie so compelling:
A Screaming Man talks about loss of self, not as a consequence of happenings beyond our control, but of the choices we make when life throws us off guard. . . It is in fact up to ourselves to decide what kind of person we want to be and how to express and live up to the decision once it has been made.
Algeria/Morocco: “Indigènes” (Days of Glory)
“Days of Glory” is a 2006 Algerian-Moroccan film directed by Rachid Bouchareb. The film tells the stories of one Moroccan and three Algerian soldiers serving in the French army during World War II: Abdelkader, Saïd, Mesaoud and Yassir. While they are disillusioned by the discrimination they experience during the war, the movie also illustrates their emerging sense of hope and political consciousness.
Sarah Elkaïm, French writer and African affairs expert at Critikat explains the film's historical significance [fr]:
Personne ne s’était encore attaché à relater le sort de dizaines de milliers d’Africains, du Maghreb et au-delà du Sahara, qui, au sein de l’armée française, ont participé à la libération du pays qu’ils n’ont jamais, pour la plupart, cessé de considérer comme leur patrie. [..] c’est ce qui fait la force et l’émotion du film : les personnages sont construits, et pas prétextes. Ils sont humains : parfois lâches, peureux, ils sont avant tout des hommes venus libérer leur pays du joug nazi.
No one had yet endeavored to tell the story of tens of thousands of Africans from North Africa and beyond the Sahara in the French army, who helped liberate the country they always considered their homeland. […] That's what makes this movie so emotional and powerful: the characters are fleshed out, not clichéd. They are human, sometimes cowardly or scared. Above all else, they are men who have come to liberate their country from the Nazi yoke.
“Tabataba” (“rumblings” or “rumors” in Malagasy, but also the code name given to the events of the 1947 Malagasy Uprising in Madagascar) is a 1988 film by Raymond Rajaonarivelo. The film tells the story of a Malagasy village fighting to achieve independence from French colonial rule. For the villagers, rebellion takes different forms. Some believe in the power of democracy; others believe in the power of arms.
Director Raymond Rajaonarivelo describes how he wrote the screenplay for the film [fr]:
Tout le monde me racontait une histoire, jamais la même. Cela a donné lieu à une rumeur, Tabataba, qui me paraissait refléter ce que j’avais entendu là-bas. Ce sont toutes ces mémoires qui m’ont servi à écrire le scénario
Everyone was telling me stories, but never the same one. This resulted in a rumor, tabataba, that seemed to reflect what I had heard there. These are all memories that I used to write the script.
Valérie Andrianjafitrimo, the reporter of Rajaonarivelo's remarks, adds [fr]:
Car ce qui est crucial, dans ce jeu de balance auquel on assiste entre déni et commémoration, entre interprétation française renouvelée et pluralité des perceptions malgaches, ce n’est pas la vérité de l’historiographie, dont on voit bien qu’elle ne résoudra rien des ombres de la mémoire ni de la dimension symbolique de l’événement. C’est peut-être la voix alternative de la rumeur, ce « tabataba », ce bruit sourd, permanent, varié et variable, tantôt ténu, tantôt éclatant, tantôt victimaire, tantôt héroïque, qui est importante.
For as we try to balance denial and commemoration, the balance between France's reinterpretations of the events and the Malagasy people's various perceptions, what is crucial is not the truth in historiography. That clearly resolves nothing when it comes to the shadows of memory or the event's symbolism. Perhaps it is the rumor as an alternative voice, the “tabataba” – this muffled, continuous, multifaceted sound, ever-changing from restrained to deafening and from victimized to heroic – that is more important.