Finding funding, meeting producers, convincing partners: for many directors, everything is decided before even filming. Due to a lack of solid structures in their countries, many African filmmakers still come to Europe seeking these opportunities, where a large part of the networks and funding are concentrated. In Paris, several projects led by directors from the continent are currently being supported to try to overcome this decisive step.
Around a coffee, industry professionals and guests discover filmmakers’ and producers’ projects from Southern countries every year. Ten of them are chosen from hundreds of applications. This selection emphasizes Africa, as explained by Eva Nguyen Binh, president of the French Institute: “Africa represents a third of the projects we welcome to the Cinéma Fabrique. Our goal is to support these talents with exchanges, experiences, master classes, and connect them with the French ecosystem.”
Filmmakers and producers at the beginning of their careers are guided at a critical point in their journey, where they must learn to stand out in a competitive market. An expert highlights, “They learn how to sell their project because cinema is artistic creation, but it is also a market. So they must confront this international market.”
For these filmmakers, the first step is often the Cannes Film Festival, an essential opportunity to find partners and funding. Their films often express a sense of urgency, with stories rooted in strong social and political realities. Emilie Pianta, head of the Cinéma Fabrique program, explains this trend: “As these are debut films, directors put everything into them. They are high-stakes films politically and socially, expressing a demand for more social justice and fighting against discrimination.”
Upon returning to their countries, some extend this experience by passing on what they have learned. But behind this support, a question arises: can these programs alone structurally develop the cinema sector on the continent? For Franco-Senegalese producer Jean Fall, the answer is nuanced: “Cinéma Fabrique is part of the programs supporting African cinema for years. Unfortunately, it is not enough. The problem is the lack of real circulation of films in terms of distribution between African countries. Films remain dependent on festival selections to find a buyer, and producers themselves rely on external funding for their works.”
This observation raises questions, as the ultimate goal is to see more autonomous local networks emerge. “The greatest success will be when they no longer need us,” concludes Eva Nguyen Binh.
(Source: Adapted from original content)
Fact Check: – The content highlights the challenges faced by African filmmakers in accessing funding and support for their projects. – It emphasizes the importance of international markets, like the Cannes Film Festival, in showcasing African films and attracting partners and funding for the industry.
