Mahen Bonetti, Founder & Executive Director of African Film Festival Inc.
In the early 90’s, Mahen Bonetti, the Sierra Leone-born founder and executive director of the New York-based African Film Festival Inc., created both the African Film Festival and its traveling series counterpart. For the last two decades, the Festival has enjoyed immense success and garnered respect from the world of film festivals and and their audiences for its carefully curated selection of films created by filmmakers from every corner of the African diaspora. A few days ago, Yalie Kamara of the Black Film Center/Archive had the opportunity to speak with Ms. Bonetti about the 23rd and 20th respective anniversaries of the African Film Festival and African Film Festival traveling series (the latter makes a stop at Indiana University Cinema and the BFC/A this week), her thoughts on African Cinema, her vision, and what she believes the future holds for African cinema and its international audience.
Yalie Kamara: What makes you the most excited about arriving at the 20th year of the traveling series?
Mahen Bonetti: I would say the fact that the production has increased you know; we will never run out of stories. And that there is a growing audience and also the fact the people on the continent are getting to see these images, they partake in the conversation so that makes me feel good about our mission and goals…that if we do not complete anything else, that this is taking place. And this is where tech is so much more resourceful and practical for people from the global south. We think about utilizing this technology. I get off subway here and no one is thinking about how to get to Point A to Point B, someone has to look up…well anyways that’s another story, let me not digress. [laughs]
Y: In keeping with that theme, in looking at the last twenty years of these films, what has been the most surprising thing about the way that African Cinema has changed?
M: I think the experimental genre and the fact that you have…for example in this year’s festival, we had a combination of shorts, feature films and the different genres documentary, fiction and the long and short format and the experimental format. And the thing is…in total we had 54 films and half of those were made by women. I mean, you go to Cannes, and there may be two women in the whole program, and this is what we overlook, sometimes, you know. They talk about whenever we speak about Africa and even we as African people have, you know, belief in this hype! When out of 54 half are made by women, that’s huge!
Faaji Agba (2015) by Remi Vaughan Richards
Additionally, these films are no longer just representing a narrative coming out of a colonial Francophone country or colonial Anglophone [country], there’s a mashup. You even have the Portuguese-speaking African kids. And there’s this caravan that is traveling around the continent, I’m almost envious. Like I hope I find someone quickly to take care of this [festival] so I want to join these young people, artists traveling from country to country. I hear it all the time, like “Where are you? We don’t see you anymore!” And the thing is, Yalie, I cannot also accept invitations because I know about our time, and when the moment comes for our major festival and our major flagship program, our time is so limited. I want to maintain a quality, so my first obligation is to filmmakers, as many as I can bring. And then if I have that extra infusion of cash, then I’m going to write a producer or programmer.
Outside of their country, the French have the largest number of speakers on the continent of Africa and they are supporting a lot of these initiatives, even in Francophone countries. And now the Germans are also doing it. So now you have these manifestations have that support of governmental institutions, European Union. I don’t have that. When they say “where are you?” I feel like sometimes “just accept it,” but I think that’s wrong and I know I have been invited with the expectation that I reciprocate, you know. So that being said, this is what makes me excited. That the conversation is not only taking place in this isolated space, you know. There’s an incubator that exists on the continent and in the diaspora. And there’s this…coming back to the technology to social media to, you know, blogs, these kids are communicating amongst themselves. They’re the adults in the room. Half the time, they know more about what is going on in the country than the president, who is busy stealing. That’s all they know how they do, you know? Anyways. I hope I answered your questions. [laughs]
Y: You definitely did. What have been some of your favorite moments from the traveling series or from the African Film Festival. Feel free to answer whichever you want. I just want to capture the excitement.
M: I think the excitement is that we are considered a niche festival, but that the fact that we’ve built under this label of niche, there’s been a trust, a loyalty that over the years you know and people know where to come. So in a way, it galvanizes our community. That makes me excited. And it’s not a matter of scale because that community is international and it’s also regional, it’s also local, it’s also grassroots. But there is a community of like-minded people. And it’s huge. It’s the subculture where everyone goes to poach and not only for film. You know I was reading an article in the New Yorker about Hood By Air, I don’t know if you know this label. They really — how do you say — brought high-end stree twear to the mainstream.
Hood by Air’s Spring, 2016 Collection
Hood By Air was founded by a Trinidadian kid who brought on an Afro-Dominican kid. I mean they’re the most successful beyond…what would you call it…..I’m sorry, my daughter tells me all these names…well anyways, what he said was “I noticed everyone was poaching our ideas but we don’t get the big investor and what they do is…” the way that he described it was excellent. He said “It’s like, I like how you look, but I don’t know how to approach you, so I’m going to put a bit of me in you, so I can control it.” Do you understand what I’m saying? So he says “I make tee shirts that are really, really, just in your face and then I see then the guy at one of those big couture labels doing it.” Next time they turn around, their tee shirts have been modified!
And it’s exactly that… so I feel that the fact that we have this audience…I think this has been is what keeps us relevant and this is, in a way, why the AFF is the envy of a lot of these major institutions: we are not a dying audience. You should see all these young kids coming around. And I see my grey hair and I’m like “Oh my God, I’m the Pied Piper!” And it’s just fantastic and that is also what keeps me going…
So these communities, they’re mushrooming they’re huge, you know? Like in Toronto, the city-to-city spotlight is Lagos this year. Who would imagine? A few years go, everyone was snubbing their nose.
Featured at 2016’s Toronto International Film Festival: Green White Green (2016) by Abba Makama
But I always knew that Nollywood would evolve. You will always have that telling of the traditional Nollywood story that appeals to a lot of people, but each generation is going to come around and raise the bar even higher…production, structure, storytelling, you know? And an alternative Nollywood will have different genres within Nollywood, so Toronto International Film Festival, their city-to-city-spotlight this year is Lagos. We’re generating new audiences all the time and then there’s the material. And for me, when the story resonates, production quality is secondary, because the story can hook anyone. Whether they’re in China, whether in Burma, whether in Burundi, the story is universal. As a poet you understand. So you connect to a character. You know that sound, you know that intonation. You can almost smell the space.
Y: When you’re looking for or thinking of different film submissions that you encounter, in addition to narrative heft, what are some of the other qualities that make a good fit for the African Film Festival?
M: For me. I mean first of all, I’m not a filmmaker. I’m not an academic. I was just desperate in the late 80’s to do something. [laughs] I was like “I want to hear my voice in this. Everyone is talking like maybe these are realities, but there’s another perspective here you know? Come on! Our continent is not sinking. We’re not all infected with AIDS. We’re not all swinging from trees! What’s wrong with these people?” So for me first of all, each year, I look at a theme. It could be something historic, contemporary, current, because when you’re building a program, you’re also telling a story. So the entire program is like a circle. Each film connects to the next film. It’s like a continuation of the story. Or going back to revisit the story or moving forward, or being in the present time of the story. Does that make sense? So if one person comes and there’s one film they get, they look at the theme, International Decade of People of African Descent, Modern Days, Ancient Nights: 50 Years of African Filmmaking, Digital Africa. If there’s one film they see, it ties into that theme. Because you are also telling a story, because you are making it structurally like the rhythm. We are all in that rhythm, you know?
Y: After seeing many films over the years, are there still specific representations of Africa/ African countries or themes that are yet to be addressed that you’re hoping to see emerge in the future of filmmaking?
M: One thing that I like right now is the documentary genre. I think it’s the most powerful right now. It’s very exciting and it’s a lot of women who are using this format. But they really take no prisoners on top of it. And they’re telling the story like no one else. Like Sembène would be proud, wherever he is in that other world, you know? And then there’s docudrama genre, also, so that’s one exciting thing. I mean we’re slowly coaxing filmmaking at our own pace. And I know that, I’m just so excited, because I’m learning also! I’m learning about myself. That’s why I even started it. I wanted to know myself. I wanted to love myself, meaning I wanted to love Blackness. I wanted to love Black people. Because no matter what we think, colonialism and slavery have done such a job on our psyche, you know what I mean? Like who validates who? I wanted to be the one to validate myself. And not using someone else’s cultural references or standards to decide how beautiful I was, how smart I was, how well I spoke something, you know what I mean? So for me, it was all about reclaiming, reappropriation.
In Sierra Leone, generally your traditional education guides you, even if you don’t have the formal education, but during the civil war, all that was shattered. All the infrastructures were broken…so this is what’s exciting in Africa right now: these kids are re-inventing what it is to be Black, to be African, and to live on the continent. They’re using their imagination and they’re kind of wild! They are like the Black Lives Matter kids. And that actually started on the continent. Even though we don’t label things, a lot of things started on the continent. Feminism started on the continent. Like the mother selling oranges and peanuts. Her bank is the knot in her lapa [wrap around skirt] and then she educated five children. That’s feminism. We don’t label things, you know what I mean? Like the Black Lives Matter. That movement started and then it comes back somehow and is labeled Négritude, even when that starts in the diaspora, its intersection of Black people of African descent meeting. That’s how these labels are created. That is why I wanted to have that conversation. We welcome everyone because that is also Africa’s nature. We are a people of humanity. Even when we are killing each other. You know we’ll go and cry and put kola nut offering for the one we killed.
I told someone the other day that we [Africans] are beautiful even when we…I told someone a story about the last day of one of my trips to Sierra Leone. One of the people with me had gotten their sneakers stolen. And after the fact even the thief was coming to us asking if we’d found the sneakers and acting like he was helping to look for the sneakers, even though he knew he took them! We have a sense of community and there’s a lot of drama! It’s poetry in motion.
I feel we’re coaxing the stories, we’re doing it at our own pace. There’s so much yet to be told and I’m waiting for the story where we can openly talk about…I mean even though we do, and I think your generation is doing that, it’s like who created these languages and barriers within Anglophone, Francophone, Lusophone? Who decided? Because this ties to tribalism.
I was thinking of the young kids who we did this program we did with young people in Sierra Leone where you bring a Temne and Mende together and talk about their differences. You know how did that happen?
Map of Sierra Leone
Wars always happen. But then we live together.
I’m doing this work to be self-critical and to also celebrate our achievements.
At times, I get confronted by our own people like “Why are you doing that? Why are you airing our dirty laundry?” and my response is, “Airing dirty laundry to who? Check yourself!” It’s like saying “This person is beautiful because they have this color hair or this color skin,” You need to check yourself!
Y: Beyond bringing the festival to college spaces and giving libraries an opportunity to acquire films that elicit more robust representations of Africa, what are the other benefits of having a traveling series?
M: Oh the filmmaker! Absolutely! You’re introducing someone’s work. Look at over the years, Jean-Marie Teno, even Tunde Kelani, coming to your school or Sissako Abderrahmane coming to these universities or cultural centers that means you have to buy a copy of their work, and then they get invited to be artist-in-residence and do workshops, so definitely you’re also observing and a part of the trajectory of the artist. You grow with them. You’re part of the conversation of their story.
Afrique, je te plumerai…. (1992) by Jean-Marie Teno
It’s twofold—you have audience development and make it more accessible for a wider audience. We do outdoor screenings….I’ve been told films that we show shouldn’t be older than two years, but that’s so nonsensical that it’s not even funny. How do you weave the story if it can’t be more than two years old? There are some films that were done in early African cinema that are not even dated and they’re still some of the best films you’ve ever seen in your life, and it’s still part of the story; it’s contemporary life or futuristic life or whatever.
And it’s not only the audience development and making it accessible, but also the filmmakers, the artists who are like modern day griots who are giving us this face and voice. I want to give them that pedestal because they are doing a great, great, great service for us under very, very challenging conditions half the time.
Y: Do you have a message that you’d like to leave us with?
M: I’m really proud of our young, our millennials. The African diaspora millennials, who are soaking in these stories, who are engaging in conversation and who are taking action, because it’s about activism. Every change happens usually through the young. Through activism. They’re the ones that are the agents for change, i.e. what we’re seeing right now, what’s happening here. People do not realize that it’s not just Black Lives Matter here, it’s happening all throughout the world. And even on the other extreme side these who are voting for Donald Trump, you have to also big enough to see and put yourself in someone else’s shoes, whether you agree with them or not. And that is part of your growth and your development. Part of humanity.
I think it feels like you’re on shaky ground, but at the same time, it’s the end of the era that cannot exist anymore. Something new has to happen. It’s like the force of nature. People don’t realize planting your feet on the living earth that is leaning too much on one side. It’s like equilibrium. We’re on shaky ground because the equilibrium is off. The plates of the world are off. And that is what is creating all of this pandemonium. And a lot of mad people. It affects people. It really does. I’m seeing that more and more in New York.
I feel as scary as it is, something new has to come out. It’s the browning of the world. You know, what constitutes White and Black, we’re becoming extinct, let’s face it. Latinos are going to be American, and Arabs are going to be European, okay? Look at the Great British Bakeoff. Did you see that?! The British tradition, the great British bake sale. She had on a scarf. You’ve heard her first. She had this big Cockney accent! She had 300,000 Twitter followers and then you see the girl! She’s got on a scarf, she’s a Muslim kid! And she baked the hell out of the English! She got number one!
The 20th African Film Festival traveling series begins at Indiana University tonight, Sept. 12, 7pm, with Dare Fasasi’s HEAD GONE at the IU Cinema, and continues from Sept. 13-15 at the Black Film Center/Archive.
The 20th African Film Festival Traveling Series is sponsored by IU Libraries Media Services, Black Film Center/Archive, the African Studies program, The Media School’s cinema and media arts program, the Department of African American and African Diaspora Studies, the Department of History, the Department of Comparative Literature, and the IU Cinema. Special thanks are due to Monique Threatt of the IUB Libraries Media Services and Alimah Boyd of the African Film Festival, Inc.