“The Way to Help Us Is to Give Us Our Funding on Time!”: An Interview with Michel Ouedraogo, Delegate General of FESPACO
- “The Way to Help Us Is to Give Us Our Funding on Time!” An Interview with Michel Ouedraogo, Delegate General of FESPACO
FESPACO 2011 is now over.1 Would you say the outcome was positive? Has the Vision 21 dynamic come into effect?
It’s not for us, but for our guests and the festival-goers to say whether the outcome was positive. The feedback we have suggests that things went well, but we are aware that certain things still need improving. The cinema world is very close to the festival organizers. If, however, some professionals prefer to go it alone, that’s where things start to get difficult. But we are working to achieve the best and to make sure that our festival-goers are welcomed in a dignified way, and I think that that has been respected this year.
You mention those who love FESPACO; it is true that there is a real love story with FESPACO. But along with love, there are also demands, and there has been a lot of criticism as usual. Is there anything you’d like to put into perspective?
Those who are demanding with regard to FESPACO need to be honest and objective, as they are the same people who criticize us when we are demanding.
Can you give some examples?
I’m not going to give any examples: those concerned will know who they are. We aren’t going to respond to X or Y. We are just saying that those who want to attack FESPACO should think seriously before doing so. In 2009, we introduced fundamental changes unlike anything FESPACO had seen since its creation. We were criticized because some didn’t understand these changes, but when you want to change things, you don’t ask so-and [End Page 141] so’s opinion, you make them in the interest of the festival. We listen to our critics, and take what they say into account, but those who are criticizing are again the very people criticizing what they themselves suggested. I therefore ask all those who come to FESPACO to be objective and honest.
I was struck by what Stanislas Meda said in the Fespaco News: “FESPACO’s general delegation instigated a highly original approach for selecting films after the 2009 edition.” Can you tell us more about this approach?
In 2009, we introduced something that has been contested, but we think we were right to change the inscriptions deadline from December 31. Objectively that date made it impossible to have a catalog ready on time. We advanced the deadline to October 31, November 31 at the very latest, which made it possible to have the catalog and program ready on time, like any other responsible festival. We have to choose between a professional FESPACO and the directors’ will, and we chose to be professional. It’s up to the directors to follow us in this direction.
Rumor has it that Yousry Nasrallah’s film (Scheherazade Tell Me a Story [2009]) could have won the Etalon if it hadn’t been disqualified because of its format. This question of format comes up repeatedly among the criticisms leveled at the festival. Film in Africa today is more frequently digital than 35mm, but FESPACO insists on the latter for the feature competition. Why? Is that likely to change, or is it important to preserve 35mm?
Rumors are what they are, but the personalities in question didn’t make this remark. Everyone fancies themselves an Etalon winner. Some disappointed people attacked the jury, but they should be modest. Just because a film won the Jury Award at Cannes does not necessarily mean it must win the Etalon. I was the one who discovered A Screaming Man (2010) at Angoulême and who suggested it for our selection. We went and found six films that were in the selection, without them being proposed to us. These six films are major works, and they all won awards. We are perfectly professional and don’t need to take lessons from anybody. We increasingly reach out to directors and their...
