Colon Assany is a young Congolese writer and director. Since 2018, he has worked as an assistant director on several foreign and local productions such as Augure, Ima, HOA, and Amour à 200M. He is currently working on two short film projects, both of which have received development funding from the Fonds Jeune Création Francophone. I have also been managing communications for the FICKIN Festival since 2023 and am the co-founder of Bonobo Studio, which focuses on gaming and animation.
Can you tell us about FICKIN?
The Kinshasa International Film Festival is an annual event that promotes Congolese films and celebrates the imagination of people from here and elsewhere. It provides a framework for exchange and sharing, allowing the Kinshasa public to reconnect with the big screen. Launched in 2014, the festival is an initiative of Congolese producer and director Tshoper Kabambi, who wanted to give the megacity of Kinshasa a festival worthy of its status. With no cinema infrastructure or facilities, it was necessary to start somewhere. Since its inception, the festival has always promoted local productions by supporting local creativity through training workshops. The festival acts as a development laboratory and contributes to the emergence of new talent. It also participates in film education through its programs to prepare future film consumers and filmmakers.
What conclusions can you draw from the latest edition?
Despite several difficulties, we can say that 75% of the results have been achieved. Participants responded favorably to all the programs initiated by the festival. Before the festival, with the PREFICKIN TOUR program, which consists of screenings and debates in universities and cultural centers in peri-urban areas. Or during the festival in several programs, screenings, workshops, master classes, professional meetings, and round tables. Nearly 521 films from around the world were submitted. And 121 films were screened at several venues over eight days. As with each edition, the festival saw an increase in attendance, with approximately 8,300 people participating. "Propelling Congolese cinema" was the main theme addressed during the previous edition. This was accompanied by the PREFICKIN program, including round tables between fashion industry players and Maboke, known as "popular theater." Finally, the festival launched the first edition of FICKIN INDUSTRY, a parallel program to support authors and provide training in distribution and production.
How is cinema developing in the DRC today? What are the flaws in this industry?
Cinema in the DRC is not yet an established industry. We can applaud the individuals who stand out, but also the private and collective initiatives that are being set up. Today, there are nearly seven film festivals spread across Kinshasa, Lubumbashi, Goma, and Mbuji-Mayi. Around thirty short films, three feature films and two series are produced each year. There are several challenges to be overcome. These include image education, development, access to funding, infrastructure, distribution and dissemination of works. The main challenges lie in structuring and implementing a clear cultural policy, particularly in the audiovisual sector. If the state were to implement a model similar to the Tax Shelter applied in Belgium, this would contribute enormously to the birth of an industry. Congo, with its 100 million inhabitants, most of whom are young and creative, is a fertile ground for cultural and creative industries. I dare to believe that with the incubation programs in the CCIs that have been launched over the last three years, this could contribute to the structuring of private initiatives to develop solutions adapted to our contexts. Finally, I also think it is important to set up bilateral co-production agreements with African, European, and American countries.
What is your view on the emerging talent in the DRC that represents the local film industry?
Once again, I salute the talents that stand out. Today, several films by Congolese directors are circulating at major festivals around the world, such as Cannes, Sundance, Fespaco, Berlin, and Venice, and some are being broadcast on satellite TV. There is also a sense of enthusiasm among young people who want to get started and bring a new perspective. Initiatives are springing up everywhere, such as open-air cinema with Ciné sous les étoiles and screenings in schools with Pole'Art Distribution. But there is an urgent need to establish frameworks to ensure sustainability and focus on quality, in order to compete each year at the major international film events.
In your opinion, how can we help popularize/export Congolese cinema?
First and foremost, focus on the quality of the works right from the development phase. Then, focus on local, South-South, and North-South co-productions.
You have already announced the dates for the next edition. What are your expectations? What will it involve?
The festival will take place in October. The dates will be announced in the coming days. We expect to see more Congolese films, of course, and a large turnout from the Kinshasa public. In addition to the usual activities, such as screenings and workshops, we are continuing to focus on the FICKIN INDUSTRY parallel program. The aim of this program is to produce producers and distributors capable of creating innovative concepts that are primarily suited to the local and regional context.