How to mark a presence and a certain visibility of the 7th African art in an event like the Cannes International Film Festival? It is to answer this question that Aminata Diop Johnson mobilized a plethora of energies around the African Pavilion. In a 2023 edition where tributes were paid to Sembène Ousmane and Souleymane Cissé, who paved the way for several generations of filmmakers, it was important to place African cinema in the wake of creation and the world market. To enlighten us, the director of the African Cultural Agency (ACA) answered our questions.
Le Point Afrique: Since its inception five years ago, what are the objectives of the African Pavilion?
Aminata Diop Johnson: We launched an African Pavilion in Cannes to highlight a cinematography that is not very present on the international market, and this, in a context where the contribution of African countries to the world export of cultural goods is still marginal with only 1%. In fact, the Pavilion is like a reception and communication center for all the professionals of African cinema taking part in the Festival and the Cannes market. It is also a means of boosting the opportunities and visibility of cinemas from the 54 countries of the continent, to which must be added those of the diaspora. In the same dynamic, since 2019 I have launched the "Talented Cameras of Africa" program to promote the emergence and visibility of young African creatives internationally. It has welcomed 29 winners from 17 countries, some of whom have had a very good career since. For its fifth anniversary this year, the African Pavilion has prepared for nine exceptional days punctuated by high-level conferences, screenings, master classes, post-screening cocktails, official visits, celebration of films in selection and, of course , multiple and fruitful meetings between actors of the African film industry, its diaspora and international decision-makers…
How is African film represented at Cannes today?
Strongly hampered by the Covid years, African cinemas are slowly recovering. The proof is given by the large number of films exceptionally present this year in the various Cannes competitions: 12 in total, including 3 in competition. Banel and Adama, a first Senegalese feature film by Ramata Toulaye Sy; Les Filles d'Olfa, the fifth feature film by Tunisian director Kaouther ben Hania, and Firebrand, the fourteenth feature film by Brazilian director of Algerian origin Karim Aïnouz.
Still in the official selection but not in competition this time (Un certain regard), there are four films representing countries, two of which, Sudan and the Congo, are coming to the official selection for the first time: Goodbye Julia by Mohamed Kordofani and Augure ( Omen), a film by Congolese Baloji Tshiani. There are also two Moroccan films: Les Meutes by Kamal Lazraq and The Mother of All Lies by Asmae El Moudir-Morocco. Finally, a Franco-Algerian film is presented in special screening: Omar la Fraise by Elias Belkeddar.
What does this tell us about the state of cinema in Africa? What are the featured countries?
This tells us that Moroccan cinema continues to rise, just like Tunisian cinema. That new countries gain access to international representation (Sudan, Congo) and that Senegalese and Algerian cinemas are always present. Does this mean that the film industry is healthy in these countries? In the case of Morocco and Tunisia, there is no doubt: the presence of national centers of cinematography, very active in terms of production and international representation, the number of leading producers, actors and technicians, the development of cinemas in recent years, the reputation of international festivals, such as that of Marrakech or the film days of Carthage, as well as the multiplication of national festivals in both countries, proves it. Algeria, strongly represented in recent years by excellent documentary filmmakers, is present at Cannes this year with Omar la Fraise, a big-budget film on drug trafficking and the struggles between gangs. Another great film, historical this time, made a name for itself in France: The Last Queen. The only country in Africa to have been awarded a palme d'or in 1975 with Chronicle of the Burning Years by Mohamed Lakhdar Hamina, Algeria is currently struggling with a complex reorganization of the cinematographic sector without having regained the number of cinemas and of cinema complexes from before the lead years.
And in sub-Saharan Africa?
Senegal was one of the first countries of cinema on the continent. Currently, the existence of Fopica, a film production fund, co-productions with other African countries, such as the Ivory Coast, where there is also a solid structuring of theaters and a film aid fund, the existence of very good technicians and producers, allows good year bad year, a renewal of the talents and the cohabitation between the old ones, Moussa Touré, Moussa Sène Absa, and the new ones, Mati Diop, Ramata Toulaye Sy, in particular. As for countries like Sudan, Guinea-Bissau, Cameroon or the Congo, civil wars in some cases and political and economic convulsions in others have not allowed cinema to develop.
How do you think the production conditions for African cinema can be improved?
According to the results of a recent study carried out by Unesco on the cinematographic and audiovisual industry in Africa, the sector is changing rapidly despite gray areas and the predominance of the informal sector in the various sectors. Africa appears to be the least equipped continent in terms of film distribution with only one screen for 787,402 people.
However, the African film industry is showing signs of revival. In recent years, all eyes have been on Africa and we are seeing big companies moving into African markets, with the emergence of streaming and OTT business models, such as Netflix, Showmax DsTV, for to name just a few. European and American companies invest in film production or in film schools, as well as in cinemas. Telecom operators are deploying data centers, cloud infrastructure and platforms to deliver video content to millions of Africans.
Are African investments up to the challenge?
The creative industries have not yet shown their true potential and only a few investors are aware of it. This is the case of Afreximbank, partner of the African Pavilion. Moreover, this new gold rush in the field of streaming and entertainment in Africa seems to benefit only a handful of players. Access to funding is the first problem for African filmmakers and producers who want to bring out their original stories. Local governments have not put in place strong support systems for film production and only a few TV channels are acquiring African content on a large scale. Investors are still focusing on traditional sectors, such as mobile money, logistics, technology and renewable energy. Positive lobbying must absolutely be implemented.
And what about cross-regional co-productions?
They are still very rare and if they exist, their films still do not appear in the selections of international film festivals. Skilled actors and technicians are in demand but they are still underpaid and there are few cross-border policies to protect their rights. Film rights are limited to certain territories and often belong to broadcasters like Canal, which does not always work to allow African creators to develop as they might hope. Cinema networks are still under construction and mainly show blockbusters, especially American ones, which makes the exploitation of an African film in African territories – with the exception of Nigeria – very risky. And these assertions are short of reality. The film and audiovisual sectors are estimated to generate $5 billion in revenue in Africa and employ 5 million people. According to a report released in 2021, African cinema could create more than 20 million jobs and contribute up to 20 billion dollars. That is to say its potential...
