Finding funding, meeting producers, convincing partners: for many directors, everything is played out before shooting even begins. Due to a lack of strong structures in their own countries, many African filmmakers still come to Europe in search of 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 stage.
Around a coffee, industry professionals and guests discover each year the projects of filmmakers and producers from Southern countries. Ten of them are selected from a hundred applicants. A selection where Africa holds an important place, as explained by Eva Nguyen Binh, president of the French Institute: “Africa represents a third of the projects we welcome to the Fabrique Cinéma. Our goal is to support these talents with exchanges, experiences, master classes, and connect them with the French ecosystem.“
Emerging directors and producers are supported at a crucial point in their careers, where they must learn to establish themselves in a competitive market. “They learn how to sell their project, as cinema is not only artistic creation, but also a market. They must therefore confront this international market,” emphasized a participant.
For these filmmakers, the first step is often the Cannes Film Festival, an important 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 Fabrique Cinéma program, explained this trend: “As these are first films, directors put their all into them. They are films with high political and social stakes, expressing a demand for more social justice and fight against discrimination.“
Upon returning to their countries, some continue this experience by passing on what they have learned. But behind this support, a question lingers: can these initiatives alone help structure the film industry on the continent in a sustainable way? According to Franco-Senegalese producer Jean Fall, the answer is nuanced:
“The Fabrique Cinéma is part of the initiatives that have been supporting African cinema for years. But unfortunately, it is not enough. The problem is that there is still no real circulation of films in terms of distribution between African countries. Films remain dependent on festival selections to find buyers, and producers themselves rely on external funding for their works.“
This observation raises questions, as the ultimate goal is to see the emergence of more autonomous local networks. “The greatest success will be when they no longer need us,” concluded Eva Nguyen Binh.
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