The first time
I saw Ousmane Sembène’s Borom Sarret,
I was in film school. Struck by the wagoner’s candid voiceover, and the
way it contrasted with his routine labor of picking up passengers in his wagon, I wondered why I hadn’t seen this film earlier. I wondered why many of the
people I knew hadn’t seen it. There was movement in this film, but this
character seemed not to be getting anywhere, mirroring the Neo-colonial context
in which it was set. This film was only the beginning.
Noted film critic
Elvis Mitchell will curate a month-long film series entitled Caméras d’Afrique: The Films of West Africa, running from October 3 – October 28, 2013 in Los Angeles. Named for Férid Boughedir’s groundbreaking documentary, the series
is hosted by Loyola Marymount University School of Film and Television, in partnership
with Film Independent at LACMA, and will highlight some of the region’s
most powerful works, with selections by Ousmane Sembène, Djibril Diop Mambéty, and Mahamat-Saleh
Haroun, among others.
In what seemed
more like a conversation, I spoke with Elvis Mitchell about his
hopes for the series, the emphasis on
West African cinema as part of distinct world of varied African cinema, and the need for more black film critics.
Screenings for the series
will be held throughout October at LACMA’s Bing Theater on
Tuesdays and Thursdays. Free community screenings and select Q&As moderated
by Mitchell will take place on the Loyola Marymount University campus
every Monday night. For full program line-up please visit: sftv.lmu.edu/sftvevents/afrique.
Shadow & Act: When did
you start developing your interest in West African cinema?
Elvis Mitchell: I’ve always had
this interest. I think there’s so many great, important films that come from
places other than Europe and America. Steve Ujlaki who is the dean of the film
program at LMU came to LACMA and to me for this program, and I just thought the
time had come to show these films, especially Touki Bouki, which is a great 1973 film by Mambéty. It’s such an
amazing film to see the European influence on African film, and how he uses
that kind of storytelling tradition as a taking off point. Touki Bouki is a great take on the way
pop culture affects people, similar to the way that Godard worked.
And really, one
the greatest filmmakers ever came from Senegal, Ousmane Sembene, who is just a
remarkable filmmaker-and I got to meet him 20 years ago when he was in San
Francisco for the San Francisco Film Festival. So, when this opportunity came,
I couldn’t move fast enough.
awesome. I love Touki Bouki.
EM: Isn’t is
S&A: Yes, it’s a
EM: You see a
movie like that, and you get the same feeling as when you see Godard’s Breathless. And you see movie stars. Mambéty knew how to choose actors who also have great screen presence and as a
person of color, it’s so exciting to see something like that.
I was watching the video that you did for LACMA for this series-
EM: Oh, I’m
sorry (laughs). I’m sorry you watched that –
S&A: No, I loved
it and got some background about some of the films. You said the series brings
you joy because it’s bringing attention to the art of an area that deserves
more attention than is received in America. And I was wondering what you think some
people in America think of when the term “African cinema” is referenced, or
when it’s brought up? Do you think there’s this general perspective, or not
enough attention to it at all?
EM: I think
it’s what you said about not enough attention, and weirdly when people bring up
Africa, they still tend to think of it as a monolithic term as if Africa is a
nation instead of a continent; A nation without different cultures and
I think if some people know anything about African cinema it’s something like the The Gods Must Be Crazy, which is such an
awful, condescending movie that debases African participation, and anything I
can do to shift that and draw attention to rich and widely varied films that
come from there- because there’s all kinds of filmmakers from Senegal, you have
Mambety, and Haroun with Grigris. And
we show Cameras D’Afrique which
gives audiences that don’t necessarily know the African film culture, the
chance to see how fascinating and idiosyncratic all these movies are, and that
documentary is such a great title for the series too.
S&A: Were you involved in the selection
of the films?
EM: I worked
with Steve and really curated the series. It’s sad because we only have so much
time and so many films to show. It’s just sad- the lack of knowledge that
people have about these films as you were bringing up in your question.
should be thought of as offering as many different points of view as the film
of any other different continent. Nobody would say that French film is all European
film, or Italian film is all European film. And in the same way that those places
have different filmmakers that speak to different issues, all the countries in
Africa have that too.
definitely. I know that for me, Ousmane Sembene’s work is very influential. I
know that one of his works is in the series. Was it hard to decide which one of
his films to feature and can you talk about some of your favorite work by him?
EM: So, you’re
going to have to answer that question because you know how hard it is-
because there’s so many good ones.
EM: One of my
favorite films of the last century- two of my favorite films actually are Faat Kine, and Moolaade. I love both, and Sembène really made a point of making
them not male-centric, but dealing with distinct women’s perspectives in
Senegal. I think a good place to start
with Sembene is at the beginning, and Borom
Sarret is a remarkable film that we’re featuring in the series.
S&A: That was
the first film by him that I saw in film school. Shifting a bit, how did you become
interested in being a film critic? I think a lot of S&A readers would be interested in your insight as a black film critic, and how you’ve navigated that field.
EM: I don’t
really know, I mean it was something that I always loved. I always saw a lot
of films my whole life, and had a bunch of really great opportunities, and have
been really lucky that I get to make a living doing this, and hopefully add
another point of view to these conversations. It’s great to have Shadow & Act and see what Tambay and
the writers here have to say about things but I wish that there were more to
bring about conversations because a lot of things don’t get talked about.
I’m remembering a year ago in an interview with Joaquin Phoenix talking about his
career, and he started asking me about black film. He talked about this film he turned down because it was it was too
racist to do because of the treatment of African American actors in a studio
film, and to my surprise, it didn’t get picked up anywhere in mainstream film
coverage and I was completely shocked. He talked about not wanting an Oscar and
that got picked up everywhere, but nobody talked about him basically calling
out the studio system for being racist. That was completely unbelievable to me
and it just shows that we still have a lot farther to go in terms of expanding
the parameters of our conversation about film, television, and pop culture.
thinking about your piece on Call Me
Kuchu – and talking about people of color writing about film. That
seemed like a real personal thing to you; how you talked about your own trip to
South Africa and how it informed your take on Call Me Kuchu and I just thought was a really cool thing to read.
S&A: Thank you.
That film was really powerful so I was glad to write about it.
EM: And Mother of George is another film that
asks questions of traditional roles of women in African culture. I remember
seeing that film at Sundance, and seeing a film with people of color that was
so beautifully photographed was amazing.
S&A: I loved how
it questioned the roles of women and the expectations of fertility.
EM: There’s so
many great films coming out. It’s still kind of astonishing to me how certain films
get ignored, and that film ended up getting ignored and didn’t get the
attention that it deserved at Sundance.
unfortunate. Are there any films you’re looking forward to in particular?
EM: I just want
to be surprised, and that’s one of the things I’ve always prized from new
movies from around the world. I’ve been to Poland in the last couple years, and there’s a lot of great stuff coming out of there. I’d like to see more stuff
coming out of Africa.
I taught a
class on African American images at Harvard and it was great getting students
who come in from Nigeria and tell me about great films made straight to DVD,
and these films are number one at grocery stores and gas stations, and the next
week the DVD is pirated and another film becomes number one, and it’s this
constant process of films coming out and people just watch it in their homes,
and I’d be interested in more DIY kinds of things, and to see more of that
S&A: What would
you say people can expect from the Cameras d’Afrique series?
EM: I think
they should expect to see a level of craft in filmmaking and artistry that
places these films on the same stage as films from any place in the world. I
think that people don’t know a lot about these movies of this part of the
world, and should come in with an open mind, but come in- and come and try out
these movies, see what they like and what they don’t like. I want this to
stimulate people in ways they’re not expecting because they don’t know what the
movie is. We’re also screening for people who know African film and want to see
it advance, but it’s also fun to get people who are seeing these films for the
first time and I want to get people to take a chance on films they don’t know.
I always tell
people go see something you don’t know about. Something you didn’t read a ton
about on the internet. Something that you don’t know what’s going to happen
because I think that kind of pleasure of finding something new and discovering
it, creates a hunger in you, and I am hoping that is how people will come out
Nijla Mu’min is a writer and filmmaker from the East Bay Area, based in Los Angeles. She writes for Bitch Magazine and Shadow & Act.