| Abstrakt: |
The Pan-African Federation of Filmmakers (FEPACI) convened during the thirteenth edition of the Pan-African Film Festival of Ouagadougou (FESPACO) to reassess, among other things, the leadership of the filmmakers' association, the role of FESPACO and other festivals in promoting African cinema, and the production and distribution of films. Since the best African films are screened at these European and American festivals, not to mention the ones that get into the Cannes, Venice, Berlin, and London film festivals, filmmakers no longer look to FESPACO for the premiere of their films. The other serious threat to the credibility of FESPACO concerns the decision of Africa's most famous filmmakers not to put their films in the competition, as a noble gesture to African cinema and an encouragement to younger and less popular filmmakers. Unlike most of Sembène's films, which are allegories of colonialism and modernization in Africa, and the films of the Ouedraogo school which avoid crowded and complex spaces in their mise-en-scène, most of the filmmakers in the last category confront social problems such as sex education, poverty, polygamy, and corruption in post-independence Africa. [Extracted from the article] |
