The 76th Cannes Film Festival came to a close on 27 May, marking a remarkable milestone for African cinema. With two films competing for the illustrious Palme d'Or, a varied selection of films presented in parallel sections, the notable inclusion of two African members of the jury (Rungano Nyoni and Maryam Touzani) and the prestigious award of the Carrosse d'Or to Malian filmmaker Souleymane Cissé during the Directors' Fortnight, Africa's presence was truly unprecedented. This exceptional representation of African cinema was propelled by an emerging generation of talented filmmakers, with a particular focus on African women directors.
Suddenly, a film comes out of Sudan, Mongolia, or Congo. North Africa continues to assert itself. In these locations, the new generation is largely women directors, as in Senegal. We are happy to capture this movement. Thierry Frémaux, Director of the Cannes Film Festival
A retrospective of the African films directed by women that defined this edition
The only two African films in competition for the Palme d'Or were directed by African women:
1. Banel & Adama by the Senegalese and French film director Ramata-Toulaye Sy
Ramata-Toulaye Sy, a French-Senegalese filmmaker, follows in the footsteps of Mati Diop as the second black woman to contend for the Palme d'Or. Being the youngest competitor, Ramata-Toulaye Sy's debut feature film made a remarkable achievement by being selected for the Palme d'Or competition, even though her initial submission was intended for the Un Certain Regard category.
Shot entirely in Pulaar, this film tells a deeply intertwined love story and tragedy between two young individuals from a village in the Fouta region, northern Senegal, where the filmmaker's parents originate from. The love that unites Banel and Adama is disrupted by their differing desires and the obstacles they face within their community. This timeless and universal narrative extends beyond the boundaries of Senegal and Africa. In addition to the romantic tale, the film explores the quest to find one's place within a community without rejecting its values, showcasing the delicate balance between individuality and belonging.
This French-Senegalese co-production was shot without professional actors, featuring Khady Mane in the lead role of Banel and Mamadou Diallo as Adama.
Through the film's masterful character development, Ramata-Toulaye Sy aimed to dismantle stereotypes and present a fresh portrayal of African women. The character of Banel, drawing inspiration from mythical figures such as Medea, Lady Macbeth, and Phaedra, is a multifaceted, nuanced, liberated, free-spirited, and passionate individual, challenging conventional notions.
Opting for innovation and artistic expression rather than naturalism, Ramata-Toulaye Sy drew upon a multitude of influences to shape her film. References ranging from folktales, magical realism, and the literary works of Toni Morrison and Maya Angelou, to films like Barry Jenkins' Moonlight, Terrence Malick's creations, and Benh Zeitlin's Beasts of the Southern Wild all played a role in its construction. On a visual level, the incredible film's aesthetic draws inspiration from the works of Van Gogh, Munch, Kerry James Marshall, and Amoakoa Boafo.
After graduating from La Fémis in 2015, Ramata Toulaye-Sy began her career as a screenwriter. She notably collaborated with Turkish filmmaker Çagla Zencirci and French director Guillaume Giovanetti on their 2018 film, Sibel. In 2019, she worked on the adaptation of the Rwandan novel "Notre-Dame du Nil" by Scholastique Mulasonga for a film directed by Atiq Rahimi. In the midst of the lockdown in April 2020, she embarked on her directorial debut with the short film Astel, which was released the following year and received recognition at the Clermont-Ferrand Short Film Festival. With a diverse background encompassing her dual Senegalese, Fulani, and French heritage, Ramata Toulaye-Sy's journey and artistic trajectory have been deeply influenced.
2. Four Daughters by the Tunisian film director Kaouther Ben Hania
Tunisian cinema is making a strong comeback in the official selection, following the presentation in 1970 of Abdellatif Ben Ammar's Une si simple histoire at the Cannes Festival with Les Filles d'Olfa (Four Daughters), which was the first of the 21 films selected for the official competition. In her latest feature, Ben Hania blurs the boundaries between fiction and documentary to tell the story of Olfa Hamrouni, a single mother whose two eldest daughters, Rahma and Ghofrane, have joined the Islamic State.
In 2016, like many Tunisians, filmmaker Kaouther Ben Hania was deeply moved by the story and character of Olfa Hamrouni. After convincing her, they set about making a film, which was finally completed in 2021.
"Four Daughters" explores in depth the complex workings that led two out of four Tunisian girls to become jihadists and join Daesh in Libya after the Arab Spring of 2011. The film also explores a wide range of themes, including adolescence, motherhood and intergenerational transmission between mothers and daughters. More specifically, it looks at the cyclical nature of family trauma, which seems to persist relentlessly, like a curse, from one generation to the next. Through this description, the film draws attention to the continuation of a system of female oppression, which women tragically find themselves perpetuating. However, in the midst of this bleak tale, the film also offers a glimmer of hope through Olfa's two youngest daughters. These resilient individuals possess the power to free themselves from the curse and break the cycle of trauma, representing a generation of revolutionaries who bring a promising glimmer of optimism.
The old world is dying, and the new world struggles to be born: now is the time of monsters. Antonio Gramsci
Four Daughters intricately weaves Olfa's personal journey with the historical backdrop of the nation. It depicts the profound impact of the Jasmine Revolution on their lives, as Olfa yearns for freedom and is inspired to initiate her own personal revolution. This involves divorcing her husband, breaking free from traditional norms and embarking on a new love affair. The film explores the complex dynamics between women and patriarchy, challenging the conventional role of the father as an oppressive figure. It also depicts a contemporary Tunisia in transition, where the patriarchal and dictatorial systems of the past are gradually disappearing, echoing the sentiment expressed in Antonio Gramsci's quote. However, as the new world struggles to emerge, the film shows Olfa's eldest daughters being devoured by the metaphorical monsters that haunt the period of transition.
To portray Olfa's journey, the director of "Beauty and the Dogs" has adopted an original cinematographic approach. Using a documentary format, Ben Hania decided to include actors in the narrative. The result is an exploration of memory, a deep dive into lived experience, a reconstruction of the most difficult moments and a captivating presentation of memories on screen. Olfa and her two youngest daughters, Eya and Tayssir, not only shared their personal stories, but also embodied themselves in the film. Alongside them, two accomplished actresses, Nour Karoui and Ichraq Matar, played the roles of the missing daughters and sisters with talent. The story is enriched by poignant scenes between Olfa and Hend Sabri, the actress who plays her character.
“I’ve always enjoyed exploring the tenuous relationship between fiction and documentary.”Kaouther Ben Hania
As a result, the film blurred the boundaries between fiction and reality by incorporating both authentic and reconstructed scenes involving Olfa and her daughters, as well as skilled performances by professional actresses. The authentic characters guided the actors, allowing them to bring back their memories. As a result, the film served as a cathartic experience, evoking the past and promoting emotional healing. It is worth noting that the predominantly female team of the movie deliberately sought to cultivate an introspective, intimate and therapeutic atmosphere throughout the film. The film adopted a rare approach, rarely seen in cinema, intimately revealing the director's personal involvement in the process of creating the documentary.
Kaouther Ben Hania stands as a representative of Tunisian cinema, having previously presented La Belle et la Meute in 2015, which was selected for the Un Certain Regard category. Additionally, her film The Man Who Sold His Skin was nominated for Best International Feature Film at the 2021 Oscars. At the 2023 Cannes Festival, "Les Filles d'Olfa" was honored with the esteemed Golden Eye award, which it shared with "La Mère de tous les mensonges" by the talented Moroccan female filmmaker Asmae El Moudir. This deeply moving film will captivate audiences when it hits theaters on July 5, 2023.
Apart from its selection for the Palme d'Or, the festival witnessed the remarkable contributions of other African women in different categories. Asmae El Moudir's "La Mère de tous les mensonges" made a significant impact as part of the official selection for Un Certain Regard. Rosine Mbakam's "Mamba Pierrette" garnered attention in the Directors' Fortnight selection, while Sonia Ben Slama's "Machtat" impressed audiences as part of the ACID program.
3. The Mother of All Lies by the Moroccan filmmaker Asmae El Moudir
The Mother of All Lies (Kadib Abyad is the original title, meaning "white lie") is a documentary directed and written by Moroccan filmmaker Asmae El Moudir. Presented in the "Un certain regard" category at the Cannes Film Festival, the film explores the mysteries and lies surrounding Asmae's childhood and won the Best Director prize and the Œil d'or. This cinematic masterpiece transcends the boundaries of the traditional documentary. It ventures into the realm of fiction, almost resembling an introspective essay.
The film begins when Asmae visits her parents in Casablanca to help them move house. While sorting through her old belongings, she comes across a photograph of happy children in a school playground. Almost out of frame, a young girl sits on a bench, glancing shyly at the camera. Asmae firmly believes that she is not the child in the photo, the only childhood memory her mother has been able to pass on to her. Determined to unravel this enigma, Asmae presents her camera and sets about interviewing her parents and grandmother, skilfully using this personal incident to unearth other memories about which she harbours doubts. The photograph serves as the catalyst for a journey of investigation, during which the director probes the myriad of little lies told by her family. Throughout the documentary, Asmae ventures into her neighbourhood and her native Morocco, trying to understand the reasons behind these fabrications and the revelations they contain about her family and its cultural heritage.
The Mother of All Lies breaks new ground as a documentary by cleverly blending narrative techniques. Much of the documentary takes place in meticulously crafted miniature figures and houses, accurately reproducing the characters and locations of Asmae's childhood neighbourhood in Casablanca. For ten years, Asmae devoted herself to imagining this miniature world, which resembles a doll's house. By recreating scenes where visual archives are absent, the director ingeniously uses these figurines to fill in the gaps and bring the past back to life.
The Mother of All Lies is a poignant and heartfelt exploration of family dynamics. It is a collaborative work, inviting those closest to the director to take part in the delicate art of reviving dormant memories, particularly the traumatic ones that occurred during the bread riots in Casablanca in 1981. Through the enchanting manipulation of these tiny figurines, the film brings to life a bygone era and highlights the power of cinema to resurrect personal narratives.
Since 2010, Asmae El Moudir has been actively involved in the film and audiovisual industry, with an impressive portfolio of seven completed works. Asmae studied at the University of Tetouan, the Institute of Communication in Rabat, La Fémis and at the Moroccan Film Academy. In 2014, she set up the production company Insight Films. She made her directorial debut in 2020 with the release of "The Postcard". Throughout her career, Asmae El Moudir has been recognised for her documentary projects, winning prestigious national and international awards for her outstanding contributions to the field.
4. Mambar Pierrette by the Cameroonian and Belgian filmmaker Rosine Mbakam
Mambar Pierrette offers a captivating blend of fiction and a richly documented narrative. It takes viewers deep into the life of Mambar Pierrette, an exceptional seamstress who transcends her role as a couturier to become a trusted confidante and influential figure of her neighbourhood. The film presents a poignant portrayal of a mother's resilience and determination as she confronts the daily challenges of life.
Mambar Pierrette provides a compelling portrayal of Pierrette's unwavering spirit and refusal to surrender, representing Mbakam's commitment to showcasing a reality often overlooked. Mbakam skillfully avoids relying on pathos, instead focusing on individuals who confront challenges, seek solutions, and strive for progress. The film captures Pierrette's authentic experiences, ensuring that her true story remains forefront without being overshadowed by fictional elements. Mambar Pierrette invites viewers to contemplate the sacrifices and aspirations of a woman who tirelessly fights for a better future for her children. Throughout the film, we witness Pierrette's unyielding courage in the face of daily hardships and her determination to overcome obstacles.
In her previous documentaries, such as The Two Faces Of A Bamiléké Woman (2016), Chez Jolie Coiffure (2018), and Delphine’s Prayers (2021), Mbakam displays a genuine fondness for her subjects, many of whom are her family and friends in Cameroon or Belgium. These films beautifully blend her emotional attachment to the individuals she portrays, her keen ideological curiosity, and her mastery of composition. With Mambar Pierrette, Mbakam continues her exploration of a new narrative approach while remaining true to the essence of cinéma vérité that has shaped her earlier works. The film prominently features her cousin, along with other relatives and neighbors who bring their own slightly fictionalized versions to the screen.
Growing up in Yaoundé, Mbakam's sensibility was deeply shaped by her surroundings. Frustrated by the lack of representation, she embarked on a career in cinema to give voice to the reality she witnessed on a daily basis. Despite the various portrayals of Africa in the film industry, Mbakam felt a void when it came to characters like Pierrette—individuals who embodied determination and resilience rather than assuming the role of victims. She aimed to share this reality she encountered in her everyday life. After her time at STV in Douala and her studies at INSAS, she established Tândor Productions, her own production company. She has since directed four critically acclaimed feature-length documentaries. Mambar Pierrette signifies a significant milestone in Rosine Mbakam's career, reaffirming her dedication to portraying authentic and inspiring stories while pushing the boundaries of narrative.
5. Machtat by the Tunisian and French Director Sonia Ben Slama
Unfolding in the lively neighborhood of Mahdia, Tunisia, "Machtat" presents a remarkable narrative. This captivating documentary, directed by Sonia Ben Slama, invites us on an intimate journey into the lives of Fatma and her daughters, Najeh and Waffeh. As agricultural laborers during the winter and "machtat" musicians during the summer, they captivate newlyweds with their enchanting traditional songs. Through their experiences, the film delves into the complexities of their roles as women in a patriarchal society, highlighting their unwavering strength and determination.
"Machtat" offers a poignant glimpse into the daily lives of Fatma and her daughters. Amidst the celebratory atmosphere of weddings and personal moments, Ben Slama's camera captures their interactions, unveiling the deep bonds that unite them and the vulnerabilities that surface over time. This documentary meticulously observes their work gestures and everyday experiences, shedding light on the intricate relationship this matriarchal family has with marriage. Najeh, the eldest daughter and a divorcee, seeks remarriage to assert her independence and escape her brothers' authority, while Waffeh strives to break free from an abusive husband. The film delicately explores how marriage becomes not only their profession but also a setting where their personal lives face challenges and chaos. It reveals the dichotomy between their expertise in wedding ceremonies and the loss of control they experience.
"Machtat" captivates with its precise ethnographic approach. The film juxtaposes joyous wedding scenes with moments of familial conflict, creating a striking contrast that provokes introspection and contemplation. It offers thought-provoking and ambiguous scenes, such as a final intense dance sequence that leaves viewers pondering whether it represents liberation or exhaustion.
By deliberately excluding men from the frame, Ben Slama invites viewers into an exclusively female circle, shedding light on the role of women in this patriarchal society. The film implicitly raises questions about the familial models passed on to the next generation. It skillfully intertwines the spectacular representation of marriage ceremonies with the mundane realities of these women's lives, compellingly examining the place of women within the institution of marriage. It reveals their struggles, illusions, and moments of empowerment.
In "Machtat," Sonia Ben Slama skillfully captures the resilience and empowerment of Fatma, Najeh, and Waffeh – three remarkable women who assert their voices amidst societal challenges. Through poignant storytelling and meticulous observation, the film illuminates their unwavering determination, inviting viewers to reflect on the intricate dynamics of gender, tradition, and personal agency. "Machtat" stands as a powerful testament to the strength of women and serves as an inspiration for all those who aspire to overcome societal constraints and shape their own destinies.
Sonia Ben Slama is a Franco-Tunisian documentary filmmaker. She grew up in Paris, where she studied art and cinema at Sorbonne-Nouvelle University. In 2015, she directed her first feature-length documentary, "Tout est écrit" (Maktoub), in Tunisia. The film tells the story of her grandmother's marriage 70 years ago in a small town and her cousin's wedding in the same place today. "Machtat," her second film, follows in the footsteps of "Maktoub" and explores similar themes from a different perspective. Sonia is currently developing a new feature-length documentary project, "316 North Main Street," filmed in the United States.
Concluding thoughts
The representation of African films at the Cannes Film Festival extends to various countries, including the Democratic Republic of Congo with Baloji's "Augure," Morocco with Kamel Lazraq's "Les Meutes" and Faouzi Bensaïdi's "Déserts," Sudan with Mohamed Khordofani's "Goodbye Julia," Algeria with Mouloud Aït Liotna's "The House is on Fire, Might as Well Get Warm," Egypt with Morad Mostafa's "I promise you paradise," and Guinea-Bissau with Sana Na N'Hada's "Nome." This emerging generation of African filmmakers showcases their creativity and daring, injecting new vitality into the continent's cinematic landscape.
It is important to emphasise that African cinema has always been present and thriving at festivals such as Fespaco, the Journées cinématographiques de Carthage and Durban, with Cannes merely reflecting this dynamism. Despite the progress that has been made, African cinema still faces challenges in terms of funding, distribution and visibility. I hope that in future festivals, more films created by 100% African teams and reflecting the diversity of 54 countries will be selected, without being considered an "exception".