However, these films are not accessible to the general public, especially in Africa. Few people in Senegal, where Sembene was born and lived, would have seen this magnificent and beautiful film, Mandabi. The symposium, to be held at the same venue, will highlight current efforts to restore and repatriate Africa’s rich film heritage, and explore broader issues such as ownership, preservation, and ethical aspects of cultural recovery. For me, reparations means restoring these films and bringing them back to the continent where they belong. It’s about creating a space where the person who created the work can enjoy it.
“How I Became a Guinea Fowl” starring Susan Chard
The films in this program seek to offer audiences something completely different from the stereotypical stories often told about Africa. Instead, it is important to discover and give voice to the untold stories of African people. Movies that have come out of Africa remind us that movies are more than just entertainment. It is a medium for preserving memories, sharing experiences and reflecting on history.
African cinema started much later than the global film industry, with pioneers like Sembène emerging in the 1960s. At the time, African filmmakers faced immense challenges, especially regarding the use of celluloid film. Developing films required access to laboratories, and there were few in Africa, so filmmakers had to rely on facilities in Europe or North America to produce their work. That dependence limited their creative freedom. However, the transition from celluloid to digital has empowered African creators and enabled them to become independent storytellers. Now, all you need is a camera and access to storage to create a movie. This has led to a proliferation of African filmmakers who are no longer dependent on foreign resources and perspectives. Young filmmakers are creating their own visual narratives, whether through traditional film or new platforms like TikTok.
Despite this, African filmmakers continue to face major challenges due to a lack of state support and infrastructure. Most African countries do not have an equivalent BFI, making it difficult for filmmakers to grow and limiting their ability to effectively produce and distribute films. This lack of support is a serious problem and needs to change across the continent.
A key part of overcoming these challenges is increasing efforts to develop budding filmmakers by establishing mentorship and training programs. We are really proud that Film Africa is hosting Film Lab Africa at Rich Mix. There, in collaboration with the British Council, a panel discussion showcasing emerging young talent from Lagos, Nigeria will provide young filmmakers with essential skills, industry knowledge and networking. chance.
We need to rethink and have deeper conversations about the global world we live in. Africa is often missing from these discussions. People talk about Africa, but they don’t talk about Africa. Nevertheless, I am optimistic about the future of African cinema. Cinema is like a dream: it cannot be controlled, predicted, or directed, and it never stops evolving. I think this year’s program is a testament to that creative spirit.
Keith Shiri is the main curator of Film Africa 2024.
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