Pélagie Ng’onana : a critique of the film "Buried" by Françoise Ellong | une critique du film "Enterrés" (Africine.org)

Pélagie Ng’onana : a critique of the film "Buried" | une critique du film "Enterrés" by/de Françoise Ellong

Source: africine.org. Publ: 06/06/2021
Translated from French by Beti Ellerson, an African Women in Cinema Blog collaboration with Africine.org.

En français : http://www.africine.org/index.php/critique/enterres-de-francoise-ellong/15110

Dangerous links between religion and believers
The second dramatic feature film by the Cameroonian director marks her presence in festivals and airline entertainment with a courageous and transversal discourse on pedophilia in religious circles.

A high-angle shot following a taxi on an unpaved road. The movements of the drone sweep over the vegetation, village dwellings lined up on both sides of an apparently dead-end road. It is through this journey that Françoise Ellong invites the viewer to be part of this 88-minute adventure, which from the start reveals elements of uncertainty, of doubts and of an impasse. The little yellow car unloads its passengers at the crossroads of a village. A place that reflects as much the complexity of the characters and the situations they will go through as the uncertainty of a flourishing future. Which path to take? The question that seems to arise in the first scenes of the film will remain in the background, only to reappear at the end.

It is the journey of a lifetime, in fact, that Buried tells, at a unique site and with unique characters. It is the tumultuous and painful course of three decades that Ndewa’s group wants to exorcise. After her first feature film Waka, Françoise Ellong is slowly returning to the huit clos. The enclosed-setting genre for which she has a particular fondness. Here, we experience the insight of the director who gains in maturity throughout her film productions.

The exact casting, accompanied by an ideal setting, transports the viewer through the orphanage where the group lived more than two decades before. The lighting quality combined with the right make-up and costumes adheres to the development of this dark day. Also, we get to know Daddy, Sister Catherine, Sister Thérèse, invisible characters who have forever impacted the lives of our five protagonists. A polished language, dialogue and refined lines are a distinctive asset--while providing an understanding of the horror: a childhood and adolescence hindered by sexual abuse, the terror of a religious environment that is supposed to provide love and security. Ellong, who also authored the screenplay, brings up a subject that is as socially weighty as it is emotional--without any scenes with the perpetrators, no flashbacks, with a tone that is meant to be universal, without details of the filming location or of the orphanage.

Everything is in the story, the staging, the setting, and to a lesser extent the music--which punctuates the intense intimate moments. Anurin Nwunembom (discovered in Nyna’s Dowry) whose superb embodiment of Ndewa, leads the event to which he invited his former companions. A few twists in its rendering in French--because of the expression in English--did not spoil the outcome. Ndewa, a complex and mysterious character receives rejoinders from Lucie Memba (Marie)--whose acting becomes increasingly essential in local productions; Emy Dany Bessong (Agnès) accustomed to the series genre, makes a remarkable entrance in cinema with the film Buried.

In her latest fiction (released at the end of 2019 and produced by Nabe-Daone Enterprises), Françoise Ellong contemplates a discourse that tests faith by questioning the Bible and religion. "Being a pastor is a profession" ... "People use and abuse the Bible", behavior that exasperates Hassane (Assala Kofane). Reuniting "friends" on the day of the funeral of the dreaded Daddy, was for Ndewa the last hope of breaking with this bitter and secreted past. Which has nonetheless left deep scars obscuring his own future and that of his friends. And to add to the intensity of the drama: the sudden appearance of Minyem (Denis Etouka) and his even more disturbing revelations about the complicity of certain members. Burying certain objects is the rule of this dangerous game, but instead it has served as an unearthing of a past full of demons.

Un critique par Pélagie Ng’onana du film Enterrés de Françoise Ellong
Liaisons dangereuses entre religion et croyants
Le second long métrage dramatique de la réalisatrice camerounaise marque sa présence dans des festivals et les compagnies aériennes avec un discours courageux et transversal sur la pédophilie en milieu religieux.

Version originale en Français. Lire l’article en intégralité sur http://www.africine.org/index.php/critique/enterres-de-francoise-ellong/15110

Nejib Ayed : "Le cinéma est un vrai mur contre le terrorisme" Entretien avec le Directeur des JCC, Tunis |"Cinema is a real barrier against terrorism". Interview with the Director of JCC, Tunis by/par PÉLAGIE NG'ONANA (Africine)

Nejib Ayed : "Le cinéma est un vrai mur contre le terrorisme". Entretien avec le Directeur des JCC, Tunis  | "Cinema is a real barrier against terrorism". Interview with the Director of JCC, Tunis by/par PÉLAGIE NG'ONANA (Africine)

Africine.org. 8 Jan 2019. Translation from French by Beti Ellerson. (An African Women in Cinema Blog/Africiné collaboration).

[English] Français ci-après

Interview with the Director of JCC, Tunis, by Pélagie Ng'onana in Tunis.
The director of the Carthage Film Festival presents a festival whose aim is to uphold its successes, while concentrating on strengthening the professional circuit of the cinemas in Africa and the Arab world. The JCC 2018 was held in Tunis (and various milieus), from 3 to 10 November 2018.

You have been at the head of the JCC for two years. What do you consider to be the main challenge(s) in the organization of this festival?

There are many challenges. The one in which we have succeeded since the creation of the festival is called the challenge of the public, which is probably the most difficult thing in most festivals. Our festival was created by its own public: the film enthusiasts of the ciné-clubs in 1966; while there was not even a Tunisian cinema, there were Tunisian film-goers. The creators of this festival, Tahar Cheriaa and others, were all the facilitators of film clubs. It was from that moment that this challenge was won, and to the present it has never been rejected. The second thing is to fulfil the wishes of the elders, which can be summarised in three or four points, which is what I called a return to fundamentals. It is essentially the fact that we are an African and Arab festival. Not an Arab festival with African zest. There must be a kind of balance between Africa and the Arab countries at the film level, at the level of the presence of film personalities. It is important for us. We are a festival of the South. We are a tri-continental festival. Strategically our strength is in Africa, of course. But it is also in Asia and Latin America. This is something that allows us to be different. The third thing is that we are an activist festival for cinema and the causes of our communities. We do not want to look like any other festival. We are in the heart of the 21st century but these are goals that were set in 1966. We are also a festival aimed at the international promotion of our films. That is, our films must have a podium in their own countries. Hence, facilitate the circulation of films between Arab and African countries, but also within other regions of the world. It has always been more or less done but never in a manner that has been really thought through. We have a professional platform that has been in existence for four years now. Starting this year we decided to make this platform much stronger, much more important. There is the technical workshop for completion and assistance with post-production. We have earned the challenge of the public; we must win the professional challenge.

There are five sections in this platform: Sabaka which means "network", Takmil, the International Conference, Carthage Talk and the Master Classes. We brought in stakeholders (distributors, operators, international sellers, producers ...) of a certain calibre and we chose them because they are interested in Arab and African cinema. I think this year there will be much more tangible results. We wish to become a hub where all those who want to deal with African and Arab professionals must come to Carthage. It takes time but I hope we will get there.

The selection of this edition, in fact, is a part of this activist cinema...

When we choose our films and our guests it is because they meet a certain editorial line. The film, of course, must be of obvious artistic and technical quality. It must be the transporter of ideas for the future. It is not just political militancy. It is a very broad concept. The term activist is very modern too; it is something that accompanies us in our present day concerns, with all that is happening, this effervescence. This return of a neo-colonialism, a kind of imperialism that is even changing colours and faces. Finally, it is always very important to be aware of it and that our festival reflects what these films reflect.

In the past, the Tanit envelope [the trophy of the festival of Carthage] went entirely to the director, now it is shared with the producer. What is the explanation for this?

It is more equitable. A film is not made with a director; there is a lot of upstream work that is done by a producer. It can be the same person, in which case he or she is entitled to everything. I am a producer, and I am against this idea that because a director signs, it is he or she who gets all the laurels. It would be a good thing that people understand that cinema is made in partnership. Once again, it is a return to fundamentals and for me it is much more fair that both the producer and the director benefit from the award. Especially since the work of producer today in African and Arab cinema has become crucial. Without producers it is a nightmare. When we have a concern for money we cut in the scenario, whereas when we have a producer, the director can say: “no I have to film that and it is up to the producer to find the money”. For me, it is important that this director-producer relationship is institutionalized and that there is a real separation. What we have done again since last year in relation to the festival's workshops is to invite the director and producer of the film. Because when we have to produce or co-produce a film, we need both people there to defend their project and look for partners. So, it is a whole philosophy behind it.

The screenings in the prison environment, it is also an initiative that reflects the JCC ...

We have been doing this for four years now, sincerely I think it is one of the most beautiful ideas of JCC. We do not do this alone but with two partners: the World Organization Against Torture and the Directorate of Prison Units. What is important is that there are structured screenings. It is not fair to only show a film in a prison and stop there, so it is organised with the idea of continuity. For example, there are some prisons in which a movie theatre has been built for us. There is now a film club there. In October this year, we screened a film in the country's largest prison. The prison administration constructed a huge tent for some 700 seats, about 500 prisoners saw the film and were able to have a discussion with the crew and the filmmaker. We also showed the film in the rooms of all the prisoners. For me it is a great experience and it is leading to cinematographic activities. Now there is even film production on the inside…But it's a responsibility. People who have to leave prison at some time, I do not want them to be marked by the fact of having been there. But they are galvanised. They make films, do theatre, music, they produce, they create ciné-clubs.

What is the response to the presence of JCC in other cities beyond Tunis?

In these regions also it is the same rationale. In the past, we did a kind of caravan, going to about fifteen cities, doing screenings only and then returning. Now we want to create festival bases in the cities where we go. The first of our conditions is that ultimately there is a festival that must take place, the second is that it must have technical conditions and the most innovative reception and that there is not film festival that already exists in the city. The third condition is that the regional, local authorities and the civil society are interested in the idea of ​​creating the festival and taking charge of the operation. It seems to be working, since last year we did it in four cities, and we have three festivals that are in the process of doing so. This year also we have chosen four cities…

Especially that the local public engages appropriately with cinema ...

A few years ago the public had a certain concern about the cinema houses. In fact they only came to the JCC and certain organized events. Today, with the interest essentially given to Tunisian cinema, theatres have relative success. In terms of audience, a Tunisian film beats out an American blockbuster. Our audience is a very open public. They accept what audiences in neighbouring countries do not. For example, films about sexual minorities. Elsewhere, neither the authorities nor the audience allows it. Here some of these films even win awards. This means that when we talk about value we are militant. And it is not a militancy that disrupts, but a militancy that constructs. We defend the fact that everyone has the right to speak; hence, there is tolerance. People listen to each other; watch each other's films, so they can discuss them. That is our mission as well.

Tunisian production is also reviving ...

Last year, there were 37 feature films and 41 Tunisian short films presented at JCC. This year there are 17 feature films and 51 short films. Progressively, there is a genuine production coming into existence. What is interesting is that the production is not necessarily funded by the state, about 50% of the films; and among which are films of very high quality.

An attack happened three days before the opening of the JCC. Do you think it was the festival that was targeted?

In all modesty, I know that the JCC were the target. This is the second time that it took place in Tunis and in both cases it was the JCC. In 2015, there was an attack in the midst of the JCC, and this year three days before the JCC there was an attack. Knowing the importance of this festival on the national and international level, they tried to create a sense of panic. What happened is exactly the opposite. None of our invited guests cancelled. In any case we operate within a simple logic. We are against terrorism. Cinema and culture in general is a real barrier against terrorism. The rationale for security is necessary, but it is this type of festival that allows one to say no to this kind of practice.

[Français]

Le directeur des Journées cinématographiques de Carthage présente un festival qui veut bien préserver ses acquis, tout en se souciant de rendre plus fort le circuit professionnel des cinémas d'Afrique et du monde arabe. Les JCC 2018 se sont tenues à Tunis (et divers lieux), du 3 au 10 Novembre 2018. POUR LIRE L’INTEGRALITE  : http://www.africine.org/index.php?menu=art&no=14551

Analysis/analyse by/par PÉLAGIE NG'ONANA : Ward Zee by/de Delphine Itambi, the power of the womb / le pouvoir des entrailles

Analysis/analyse by/par PÉLAGIE NG'ONANA : Ward Zee by/de Delphine Itambi, the power of the womb / le pouvoir des entrailles. Translated from French by Beti Ellerson

Français ci-après

[English]
The director's latest film, based on a true story, infiltrates the trafficking network of new-born babies.

From beginning to end the intrigue conveys the pangs of a painful battle. That of Page Asanji, a young mother dispossessed of the fruit of her womb two days after childbirth. Embodied by the talented Charlotte Gobina, an imposing figure in the leading role, from scene to scene Page's determination finds paths of hope to a dramatically desperate situation. Who has so cleverly orchestrated the theft of a new-born baby in the famous Pavilion Z of the Royal Hospital? The 116 minutes of this thriller, shot in Buea will make the spectator a full member of the investigative team who has decided to conduct a private enquiry. With Ward Zee, officially released 23 June 2018, Delphine Itambi deals with a humanly devastating phenomenon that is growing at a frightful rate in Cameroon. She is particularly inspired by the famous affair of Vanessa Tchatchou, mother of a little girl who disappears a few hours later without a trace in 2011. The event, which happens in the Cameroonian capital, will take on an international resonance. But will not bring back the stolen baby.

While Ward Zee is not a reproduction of this affair, we still find the main ingredients that have embellished this sordid story: a hospital that allows its new-born to be taken away, an investigation burdened with delays, and biased authorities, who for the most part are walled in their silence. The protagonists of Ward Zee learn this at their own expense. The first attempts of the young Page to legally find her baby and her husband (also missing) prove unfruitful. The lawyer she meets on her journey, rousing half amnesic in a bush, is eliminated while she conducts her investigation. Kate (Ndamo Damarise), Page’s interesting newfound neighbour realises immediately that she is in danger and decides to help her. She will succeed in convincing Jack (Libota Macdonald) her private detective boyfriend and Danny (Anurin nwunembom) the ex of the heroine, to avoid the police at all cost. It is the beginning of a delectable suspense story, peppered with chilling discoveries. The story, carefully narrated with a good dose of flashback keeps the viewer attentive while guessing what will follow. It is a heck of a hit for Delphine Itambi, who also scripted and produced this feature film.

Footprints…

Deep in her role, Page aptly portrays a bruised mother in the depths of despair. At the same time, an unknown force dwells within her, feeding her rage to find that part of herself, which has just been taken away. Her imaginary and echoing blows are testimony to this. The camera multiplies the close-ups on the face of the heroine transformed by sadness. The scenes arranged with the rhythm of astute editing are accompanied by skilfully balanced music. Some of them reveal nevertheless an inadequate synchronization of the sound. But one of Ward Zee's strengths is also its strong imprint of women’s presence. In addition to the main role, the filmmaker chooses to give key places to women, all of strong character. The first woman is a generous and courageous lawyer. Page’s new neighbour, a bit whacky but determined and persevering, mobilises and encourages her friends in their search for the new-born child. Delphine Itambi will also make a personal homage by inspiring Kate a scenario that she will write throughout the plot. Laura Onyama, a major asset of the film, plays Mabel, who commits the act of theft. The actress admirably goes from a sweet maid to a tried-and-tested girlfriend to the ruthless thief who wants to assert herself. Commanding in her role, Laura Onyama, playing opposite Page, responds unambiguously, allowing the director to explore the different extremes of the characters. The cast also reveals Achille Brice, better known in his roles of director and editor, in the posture of a seductive sniper. Ward Zee has a bright future ahead of it, like its young director who is just beginning to write her story within the Cameroonian film industry.

[Français]

Le dernier film de la réalisatrice, qui s’inspire d’une histoire vraie, s’infiltre dans un réseau de trafic de nouveau-nés.

L’intrigue porte de bout en bout les affres d’un combat douloureux. Celui d’une jeune mère Page Asanji, dépossédée du fruit de ses entrailles deux jours après l’enfantement. Incarnée par la talentueuse Gobina Charlotte, imposante dans ce rôle principal, la détermination de Page au fil des scènes, trouve des ruelles d’espoir à une situation dramatiquement désespérante. Qui a si savamment orchestré le vol d’un nouveau-né dans ce fameux pavillon Z du Royal hospital ?  Les 116 minutes de ce thriller tourné à Buea vont faire du spectateur un membre à part entière de cette curieuse équipe décidée à mener une enquête privée. Avec Ward Zee, sortie officiellement le 23 juin 2018, Delphine Itambi traite d’un phénomène humainement destructeur qui prend affreusement de l’ampleur au Cameroun. Elle s’inspire particulièrement de la célèbre Affaire Vanessa Tchatchou, génitrice en 2011 d’une petite fille qui disparait quelques heures après sans traces. L’évènement qui se déroule dans la capitale camerounaise prendra une résonnance internationale. Mais ne ramènera pas le bébé volé.

Si Ward Zee n’est pas une reproduction de ce fait divers, on y retrouve tout de même les principaux ingrédients qui ont agrémenté cette scabreuse histoire. Un hôpital qui laisse s’échapper son nouveau-né. Une enquête taxée de tardive et biaisée des autorités pour la plupart du temps murés dans leur silence. Les protagonistes de Ward Zee en apprennent à leurs dépends. Les premières tentatives de le jeune Page à retrouver légalement son bébé et son mari (lui aussi disparu) sont sans issues. L’avocate qu’elle croise sur son chemin en se réveillant à moitié amnésique dans une broussaille, est éliminée pendant qu’elle mène son enquête. Kate (Ndamo Damarise) la nouvelle et intéressante voisine de Page la sait désormais en danger et décide de lui apporter son aide. Elle réussira à convaincre Jack (Libota Macdonald) son petit ami détective privé et Danny (Anurin nwunembom) l’ex de l’héroïne de surtout éviter la police. C’est le début d’un suspens délicieux, jalonné de découvertes macabres. L’histoire, soigneusement narrée à bonne dose de flash-back donne difficilement la latitude au spectateur de deviner ce qui va suivre. Un sacré coup pour Delphine Itambi qui scénarise et produit en même ce long métrage.

Empreintes…

A fond dans son rôle, Page renvoie avec justesse son jeu de mère meurtrie rongée jusqu’aux entrailles par le désespoir. En même temps habitée d’une force inconnue qui nourrit sa rage de retrouver cette partie d’elle qu’on vient de lui ôter. Ses légendaires et retentissantes baffes en témoignent. La caméra multiplie les gros plans avec le visage de l’héroïne transformé par la tristesse. Les scènes agencées au rythme d’un montage intelligent s’accompagnent d’une musique savamment dosée. Quelques-unes d’entre elles dévoilant néanmoins une synchronisation inadéquate du son. Mais l’une des forces de Ward Zee c’est aussi sa forte empreinte féminine. Hormis le rôle principal, la réalisatrice choisit de donner des places déterminantes aux femmes toutes d’un fort caractère. Le premier personnage qui décide d’aider la jeune maman est une avocate généreuse et courageuse. La nouvelle voisine de Page, un peu déjantée mais déterminée et persévérante, mobilise et encourage ses amis dans la recherche du nouveau-né. Delphine se fera d’ailleurs un clin d’œil personnel en inspirant à Kate un scénario qu’elle écrira tout au long de l’intrigue. Et puis, on a Laura Onyama. Un atout majeur du film. Elle incarne Mabel, l’infiltrée qui commet l’acte du vol. L’actrice passe admirablement de douce femme de ménage à petite amie éprouvée jusqu’à l’impitoyable voleuse qui veut s’assumer. Magistrale dans son jeu, Laura Onyama donne une réplique retentissante à Page et permet à la réalisatrice d’explorer les différentes extrémités des personnages. La distribution dévoile également Achille Brice dans une posture de snipper qui séduit. Plus connu sous ses casquettes de réalisateur et monteur. Ward Zee a de beaux jours devant lui. Tout comme sa jeune réalisatrice qui commence juste à écrire son histoire dans l’industrie cinématographie camerounaise.           

Mis Me Binga 2017 : Women's cinema celebrated in Cameroon for the 8th time | Le cinéma féminin célébré pour la 8ème fois au Cameroun by/par Pélagie Ng'onana (Africiné)

Mis Me Binga 2017 : Women's cinema celebrated in Cameroon for the 8th time | Le cinéma féminin célébré pour la 8ème fois au Cameroun by/par Pélagie Ng'onana (Africiné)

[English] Français ci-après

Mis Me Binga 2017: “Women's cinema celebrated in Cameroon for the 8th time” by Pélagie Ng'onana, Africiné, 26/06/2017. Translation from French by Beti Ellerson. (An African Women in Cinema Blog/Africiné collaboration).

The International Women's Film Festival opens on 28 June in Yaoundé. For three days, the 24 films selected for this 8th edition of Mis Me Binga are presented to the public. "Three days of cinema" as it is called by the team who initiated the project in 2010, and led by filmmaker Narcisse Wandji (Walls, 2016) and producer Evodie Ngueyeli, is driven by the challenge of energising the local culture scene with the magic of cinema.

According to the organisation, this year's programming is a consistent representation of African women's production. This is certainly the case of Fruitless Tree by Aïcha Macky of Niger, the opening film. The 52-minute documentary addresses the hidden torment of women suffering from infertility. The film was in the official selection at the last Fespaco [2017], and has also won several prizes, including the Africa Movie Academy Awards for Best Documentary in 2016. The public will also be able to appreciate Cameroonian Chantal Youdom's Rêve corrompu (Corrupted Dream), El Dorado by her compatriot Agnès Yougang, Le crayon (The Pencil) by Adjaratou Ouédraogo of Burkina Faso and L’Absence by Hawa Ndiaye from Mali.

Cameroon leads the list of selected films, followed by Niger with three films and Burkina Faso with two. Mali, DRC, Côte d'Ivoire, Togo and Algeria each have one film. While the official selection covers mainly Central and West Africa, the team of Mis Me Binga is nevertheless pleased. However, this collection is far from a representation of "all the wonders of the cinemas of Africa" ​​as this 8th edition claims. A detail that nevertheless does not undermine the importance of the event: to move the spectators, to allow them to experience a range of emotions through their encounter with recent cinematographic works. "The importance of these films and the very reason for their existence is to give them visibility, to be able to provide elements for reflection, criticism and, why not, simply for entertainment," emphasises Evodie Ngueyeli.

From its inception Mis Me Binga ("The eyes of women" in the Ewondo language of Cameroon) took on the role of advocate to promote the woman’s perspective in the universe of the 7th art. But since the last three years, the festival has opened a window to films made by men, with themes supporting the cause of women. Although ultimately, in terms of numbers, the works by men are equal to those by women. They include The Digger by Nabe Daone, Royal Team Family by Abdel Aziz Zra, both from Cameroon; Le Jardin d'Akoua (The Garden of Akoua) by Marcelin Bossou from Togo, and the Algerian Mohamed Yargui with his film Je te promets (I promise you). This year's competition includes feature films. The two juries, for feature and for short, will discern the awards for these films, which will be announced on July 1st during the closing ceremony.

Eight years later, Mis Me Binga, which ranks as the second most important festival in Cameroon (after Écrans Noirs, which takes place in July), has seen results: about 2,000 films have been screened, 10,000 visitors and 35 women trained in screenwriting, marketing and film production. This edition proposes, throughout the three days, an initiation to film animation workshop.

[Français]

Mis Me Binga 2017 Le cinéma féminin célébré pour la 8ème fois au Cameroun. Pélagie Ng'onana. Publié le 26/06/2017

 

Le festival international de films de femmes s'ouvre le 28 juin à Yaoundé. Trois jours pas plus pour présenter au public les 24 films retenus pour cette 8ème édition du Mis Me Binga. "Trois jours de cinéma" tel que le présente la jeune équipe initiatrice du projet depuis 2010. Des jeunes, en tête desquels Narcisse Wandji, réalisateur (Walls, 2016) et Evodie Ngueyeli, productrice, nourris par le défi d'animer l'environnement culturel local avec la magie du cinéma. POUR LIRE L’INTEGRALITE : http://www.africine.org/?menu=art&no=14160