« After we received our first two awards, it became clear to me that the movie was destined to become a global phenomenon »
Your film The Planter’s Plantation is currently positioned as the best Cameroonian film, and has been collecting awards since its release in 2022. How many awards does the film have today ? Name some of them…
To date, the film has received a total of 50 awards, with the number of awards still being accrued. Notable among the awards received are the Ousmane Sembene Special Prize at FESPACO 2023, the Ecran d’Or at the Ecran Noirs Film Festival (the first such award for a Cameroonian film in 26 years), the Best Actress Award at the African International Film Festival, the Best Film Award and five other at the LFC Awards, the Best Film Award at the Vues d’Afrique Canada, and the Best Film Emergence Award in Togo, Balafon D`Or including 8 other awards at the Balafon 7 Awards.
This film, which some describe as historical, takes us back to 1960, to this family where a young girl fights to keep the plantation left to them by her father. What inspired you to write this story and how long did you spend writing the script ?
My primary objective has been to convey impact-driven narratives that can facilitate discourse. A closer examination of the Planters plantation reveals a more significant underlying message. This is precisely the objective of my project : to convey a subtle narrative with a relatable storyline while simultaneously imparting a message that transcends the immediate context. It is evident that the message has been widely understood, as evidenced by the numerous awards, nominations, and accolades the film has received. The allegory of Planters Plantation is an African story about Africa, a continent whose past continues to exert a significant influence on its present. The film presents a discussion of the missteps made in the 1960s, which represents for many African countries the decade of the supposed independence. In a way, this period seems to have created more problems than it solved. The film’s perspective is that we should examine our past in order to shape our future. In other words, it asks what we did wrong to the “Enangas” of the past through the manipulations of the “Tosangengs,” which is affecting us today. The phenomenon of divide and rule persists in significant form in the present day. In conclusion, I would state that I was inspired by a continent that is crying out to be heard and still fighting to occupy the space it deserves. Furthermore, I would say that God gave me a vision to inspire my generation. The inspiration for this project first occurred to me in 2016 in the form of a dream. I commenced writing the manuscript, but lost it a year later. I resumed writing in 2018, paused, and continued in 2019. By 2020, I had developed the narrative in sufficient detail to create the final version of the script, which was completed in 2021. As the project progressed, I continued to refine the narrative in response to feedback from festivals, critics and other audiences.
Why did you choose a female figure to lead this fight rather than a man ?
I think it is time more women take up space in our society without being questioned as to why women (Laughs). From the local community to the educational establishment, the religious institution and the political sphere, women have been excluded from the foreground of public discourse for an extended period of time. The objective of including a woman in this discussion is to intensify the debate and highlight the challenges women have faced in our society. It is imperative that the challenges women have faced are acknowledged and that action is taken to address them. Secondly, I provided a platform for a gender that has fought for years to be heard, in a similar manner to how Africa has done so. Historical evidence indicates that the majority of our celebrated figures were male. This prompts the question of whether the inclusion of women as heroes would have resulted in a different outcome. I sought to investigate this hypothesis. Additionally, I had to cast Nimo Loveline in a pivotal role in a screenplay that demands a high level of emotional depth. She is an accomplished actress who can convey the full range of emotions required for the role. I was confident that she was the ideal candidate for the part.
Do you think that several African countries recognize themselves in this story ? Was that your goal too ?
It seems reasonable to conclude that each country in Africa has identified with this narrative. I can state with confidence that this is the case, as the appraisal and feedback from every country in Africa thus far has consistently indicated that the film evokes a sense of reawakening in those who encounter it. The film’s core message is perceived by many in Africa, regardless of the specific historical context. This message is seen as relevant to a range of contemporary issues, including the legacy of apartheid, the Anglophone crisis in Cameroon, the brief civil war in Sierra Leone, and the Arab Spring. In each of these cases, the film’s message is perceived as offering a nuanced and insightful perspective on the underlying causes of these complex issues. The aforementioned objective was precisely to narrate a tale that could be perceived as universally applicable by all Africans and Afro-descendants alike. It sought to illustrate that, even prior to the advent of colonialism, there existed a prevailing tendency towards division and discord, a phenomenon that continues to resonate to this day.
Your film was co-produced by the USA, did you easily obtain funding ?
Absolutely not. As a first-timer, I had to fight tooth and nail to secure funding. In this case, it was a co-production because people don’t easily believe in a film with no track record, especially one with a word of mouth reputation like mine. This story was unlike anything else being told at the time we were set to go into production. I had to convince people to buy into a dream, and they did. The days of struggle are forgotten because of the results.
Funding is very difficult to come by. And just for the record, even with the great success of this project, I am still fighting tooth and nail to get the funding for the next one.
Apart from the scarcity of funding, what other factors, in your opinion, are hampering a real expansion of cinema in Cameroon ?
The distribution of films is a significant factor that has a considerable impact on the growth of the film industry in Cameroon. It is a complex and extensive topic that requires a dedicated discussion to fully address… However, it is crucial to acknowledge that the lack of effective distribution strategies is a major obstacle hindering the advancement of the film industry in Cameroon.
The country boasts a rich cultural heritage, with numerous stories and narratives waiting to be told. However, the lack of adequate distribution channels and resources has resulted in a significant challenge for filmmakers in Cameroon. The inability to effectively showcase their work has led to a situation where many talented individuals and creative minds remain unrecognized and underrepresented.
Is Nollywood, which represents Nigerian cinema, an example for you as a filmmaker ? What are the strengths of this system ?
I am of the opinion that the answer is both affirmative and negative. I believe that there is a place for Nollywood in the creative industry. I admire the tenacity of Nollywood. The organisational structure and business model of the Nollywood film industry is worthy of emulation. It has been able to monetise its cultural output, which provides a model that could be adopted elsewhere. The Nollywood system offers a promising model for market strategy, but other factors, which I will refrain from mentioning to avoid any misunderstanding, limit its effectiveness as a reference point to me. In essence, I am a filmmaker who is open to learning, growth, and striving to create narratives that impact and resonate with my generation. Should I succeed in reaching the peak of my career ? I would always be grateful to God.
The Planter’s Plantation won the Sembène Ousmane prize at the last FESPACO in Ouagadougou, did you know this cinema figure before winning this award ?
I was first introduced to an Ousmane Sembène film at a relatively early age. I recall watching an Ousmane Sembène film on CRTV between 2001 and 2003, at the conclusion of my primary education. A particular scene from the film has remained with me to the present day. At the time, I was unable to recall the name of the film or any details about it. However, I subsequently discovered that it was entitled Cedo. Consequently, even as an actor, I consistently aspired to be cast in films that conveyed a meaningful narrative, such as those directed by Ousmane Sembène. Upon becoming a full-time writer and director, I will conduct exhaustive research in all film archives to locate his films, purchase them on demand, and view them.
I have therefore watched each and every one of Ousmane Sembene’s films. The prize I was fortunate enough to receive was announced in a manner that described it as being “for a film made in the style of Ousmane Sembene, embodying his spirit”. Upon being announced as the winner, I was overcome with disbelief. I was rendered speechless by the announcement, but found immense joy in the experience. All accolades I have received so far, the effigy of my esteemed mentor, a figure who has greatly influenced my work and remains a source of inspiration for me.
Did you expect this film to be such a success ?
In fact, when I initially embarked upon this cinematic project, my primary objective was to create a film that would be accessible to a broad audience and would be well-received by them. I had initially intended to create this film as a means of making a living. However, a few months before shooting began, I began to gain clarity regarding the importance and significance of the story, the reasons behind its necessity, and the optimal form in which it should be presented. It was only upon realising the intrinsic value of this film that I was fully committed to its completion. The experience of witnessing every aspect of production unfold on the director’s monitor evoked a profound emotional response, to the extent that it brought me to tears on several occasions. On other occasions, I experienced cataplexy while on set. At that point, I was certain that I had created a national phenomenon. Upon the completion of the film, I recognized that it had the potential to become a Pan-African phenomenon. And after we received our first two awards, it became clear to me that it was destined to become a global phenomenon. I am grateful to God for allowing me the privilege of telling this story and for making his glory shine through in every aspect.