• With two feature films in this edition
• It proves that directors are doing their best
• And wait for the State to hasten the pace
Chaunt of digital with his first feature film “Traque à Ouaga” in 2004, Boubacar Diallo experienced reluctance from some of his peers who favored film as the only film production tool at the time. “I believe that we make the film for the public. It’s the opinion of the public that is important, not the one who does things differently. In my opinion, we do not talk enough regarding the scenario which makes the public feel concerned, recognize themselves and which makes them go to see the film and talk regarding it around them so that others come to see it, ”retorted- he to his detractors. Almost a decade later, FESPACO took the plunge, during the 23e edition in 2013: 35 mm is no longer the rule for participating in the biennial film, thus opening the way to a new wave of productions and producers.
For the 2023 edition of FESPACO, which has the theme “Cinemas of Africa and the culture of peace”, the Films du dromedaire are not in the official competition but will be present with two feature films: “The Sam Mory affair” in competition section Burkina and “Epines du Sahel” in panorama. We must therefore wait at least for the next edition to hope to see the festival’s major trophy in the stable. By welcoming us in the followingnoon of Tuesday February 14, 2023, the first manager of this production structure spoke regarding certain aspects of FESPACO.
Gaston Kaboré in 1997, with his film “Buud Yaam”, is the last Burkinabè to have won the Etalon d’or de Yennenga. 26 years later, it is still difficult for his fellow countrymen to follow in his footsteps. For Boubacar Diallo, we must not blame the actors that they are, quite the contrary. And there is no shortage of arguments to defend themselves: “The directors, each on their side, do their best. We have always drawn the attention of officials who have succeeded each other at the head of the Department of Culture, to the fact that we must stop resting on our laurels because we are the capital of African cinema. We need to change the way of working, of releasing subsidies, of meeting deadlines. For example, the budget for the film “The Three Lascars” was around 170,000,000 FCFA. Côte d’Ivoire put almost 80,000,000 FCFA and Burkina Faso 15,000,000 FCFA. We are proud to say that it is a Burkinabè film that has broken all records in the box office, but if our financing must always come from outside…. We avoid talking regarding it so as not to create controversy. We were able to finish filming “Epine du Sahel” thanks to Canal+. But I’m not sure that all the directors who have received grants have received all of their two-week grants from FESPACO. It’s as if you have wrestlers who have to defend the national colors, you tie their hands behind their backs and you push them once morest the opponents. Can we win trophies under these conditions? “.
Some people think that the various players in the sector will have to devote their energies instead to an economic model that will lead them to do without subsidies…. But for Boubacar Diallo, the State cannot disengage from its duty: “We have to put in place a system that works before everyone can function on their own. We don’t have, for example, a large number of movie theaters or ticket offices… these are things we’ve been asking for for a long time. We are not in the assistantship but it is normal that the State also takes its responsibilities ”. This director with 19 feature films remains convinced that external funding does not necessarily lead to a hold on African culture, even less an insemination of certain taboo practices in Africa such as homosexuality. ” No way. On the contrary, when there are these themes, they are reluctant, because televisions are family programs and in general, televisions are afraid of programs that touch on sex and religion. It is difficult to dictate behavior to African creators, because we have our culture, our identity and we try to be the reflection of our society,” he reassures.
Boubacar Diallo believes that FESPACO should create more conditions so that all actors can find their accounts. “We must not continue to put in the minds of young people that there are cinemas above others. When you make comedy, for example, we consider that it is not real cinema, it is necessary to make so-called films of authors. At the same time, FESPACO is held in one week over two years. let’s try to only show these so-called other films in movie theaters to see if they will hold up for a long time. Each genre has its place in this dynamic and we must not work to devalue one genre for the benefit of another. If we want to create a real dynamic, we must promote all sectors, all genres, all talents,” he wishes.
Moumoni SIMPORE
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List of films in competition for the Golden Stallion:
– The Last Queen by Damien Ounouri (Algeria)
– Our lady of the Chinese Shop, d’Ery Claver (Angola)
– Apolline Traore Road (Burkina Faso)
– My father, the devil, by Ellie Foumb (Cameroon)
– The plantation of Dingha Eystein Young planters (Cameroon)
– Bantu Mama by Ivan Herrera (Dominican Republic)
– Abu Saddam by Nadine Khan (Egypt)
– Shimoni d’Angela Wamaï (Kenya)
– The blue of the Caftan by Maryam Touzani (Morocco)
– Simin Zetwal/Regarde les étoiles by David Constantin (Mauritius)
– Maputo Nakuzanza d’Ariadine Zampaulo (Mozambique)
– CJ Obasi (Nigeria)
– Xalé, The childhood wounds of Moussa Séné Absa (Senegal)
– Ashkal de Youssef Chebbi (Tunisia)
– Under the fig trees d’Erige Sehiri (Tunisie).
