Since its creation in 1946, the Cannes Film Festival has been dedicated to showcasing and promoting high-quality filmmaking. In 1959, the Marché du Film was created with the aim of bringing together professionals from the film industry at the festival site.
Since then, industry professionals, producers, and buyers have been coming to the Film Market to sell films, find partners, and expand their networks. It is in this space that Pavillon Afriques will set up its tent in 2023, for the third time, to provide an overview of African cinema and its growth potential on the continent, in the diaspora, and beyond.
Can you tell us about the Pavillon Afriques at the next Cannes Film Festival?
Pavillon Afriques is the first tent dedicated to cinema from Africa and its diaspora. It is also one of the few private pavilions at the Marché du Film. It brings together several countries. Pavillon Afriques thus reflects the diversity and plurality of African and African-origin productions. It is a place for meetings, exchanges, discussions, and sharing experiences. It is a platform that gives African cinema professionals access to the resources of the global film industry.
What are the objectives and ambitions of such a representation at the festival? What are your expectations?
Since its creation, Pavillon Afriques has been a real success. Players in the African film industry were in demand for this kind of representation. Since then, the work has been considerable and we are working every day to convince politicians and find funds for the production of films. The ambition of Pavillon Afriques is to give Africa a place at one of the biggest festivals dedicated to the 7th art.
We are working to highlight the importance of creating a film industry in African countries. This is essential if we want to structure and professionalize the sector in different countries.
Finally, we must show the whole world what Africa is doing in terms of film. Pavillon Afriques is a privileged place to create synergies and help professionalize the sector. Training is also a real challenge, which is why I have created an online training school for film professions, Arts & Business Center.
What's new in this edition?
Here are some of the major events planned for this 4th edition:
- The circulation of cinematographic works in Africa by Lamia Beljaiel Guiga
- Spotlight hour with Kourtrajmé
- The different faces of film financing: Michael Helderman, Bondit Media CEO
- "Nollywood goes to Bollywood" with Hamisha Daryani Ahuja
- Sembène Ousmane Centenary, in partnership with the Institut Français
… And many other events in the pipeline.
Among the highlights of this 4th edition, director Richard Lawson will present a preview of his film Black Terror, accompanied by executive producer Tina Knowles-Lawson and in the presence of the lead actor, Tobias Truvillion, a rising star in Hollywood.
This year, we have also launched a call for projects and a call for content, which we will promote to financiers and buyers.
What are the strengths and weaknesses of the film industry in Africa at the moment?
For me, the main weakness of the industry remains the lack of strategy on the part of politicians. They are the ones who must support the development of the industry. Many initiatives are being launched in different countries, but they are still tentative and complicated. Representatives often mistakenly believe that it is necessary to first produce works to "show" on the international stage before implementing initiatives to develop and support the industry. However, attracting foreign producers to the continent is also a way to boost the film economy.
Nevertheless, even if politicians are not necessarily committed, professionals in the sector are constantly multiplying projects and do not hesitate to travel to show what they are capable of. Creativity and talent are among the main strengths of African countries in terms of cinema.
How can this industry be established on a sustainable basis?
Apart from initiatives aimed at supporting the structuring and professionalization of the sector, I also think it is important to stop drawing a line between films and series. The distinction is becoming increasingly blurred around the world, which is why we now want to represent series within Pavillon Afriques.
Finally, the continent is experiencing a revival of movie theaters. This is working well in Nigeria and South Africa, where audiences are turning out in droves. However, in French-speaking countries in particular, a lot of visibility is given to blockbusters. This does not allow African films to get the visibility they deserve.
I hope that African countries will gradually realize the importance of developing a film industry for their own GDP and that professionals in the sector will continue to fight to tell their own stories, despite the difficulties.