MEDI1TV Afrique : Littérature : Camara Laye, le Kafka africain - 22/06/2024
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00:00And it is with great pleasure that I find you on Mediain TV for this new cultural stop in the heart of Africa.
00:17In a few moments we will talk about literature with one of the greatest names of African literature of our time,
00:25but for now, back to our guest of the day.
00:37And today we have the immense pleasure of welcoming a very representative filmmaker of this new generation of filmmakers on our continent.
00:47His name is Raouf Sbaheaneu. He is no longer present after Le Pistolet or Claire Obscure.
00:53Hayat, he recently returned with his new-born, nicely nicknamed the oasis of the frozen waters.
00:59He is with us. Hello Raouf.
01:01Hello, how are you Amna? Hello to all the spectators of Mediain TV.
01:05It's a pleasure.
01:07Thank you very much for answering our invitation.
01:10Raouf, as I was saying, you are very representative of this new generation of filmmakers on our continent, but also in our country, Morocco.
01:20I know that your beginnings in cinema are a real passion that developed in you very young.
01:27Can you tell us about it? How did this adventure for you, cinema, begin?
01:32My first contact with cinema, or the beginning of this desire to make cinema,
01:39may be a conflict of interest for you, Amna, because it is thanks to your father,
01:43it is thanks to the masterpiece La Plage des Enfants Perdus by Chateauneuf,
01:51which was the trigger for me to decide that one day, no matter the job at that time,
01:56when I was 12 or 13, that I was going to do,
01:59it was through this film that this desire to make cinema was born.
02:05Of course, I grew up in a family of journalists at the Moroccan radio,
02:13but the fact of deciding to become a director began by watching Chateauneuf,
02:22and then by watching other films.
02:24I was lucky enough to have a cinema school in my high school,
02:28which was the first at the time, in 2000, where it is located in Rabat, my hometown.
02:33And from then on, I am in my third feature film as a director,
02:38and many other projects as a producer, screenwriter, etc.
02:42You were influenced by what we call the pioneers of Moroccan cinema, Raouf,
02:52and you are very representative of this new wave,
02:55of those who have modified the codes a bit,
02:58and today, with hindsight, with experience,
03:02what do you have in common, this old generation and this new one?
03:07The points in common, but also the differences.
03:09How do you see it?
03:11To be honest, for my little experience,
03:14I feel that I am trying to go back to the roots of real cinema,
03:20which is the imagery, which is this symbolism,
03:23which is to move away from the direct discourse,
03:25which this first generation, these pioneers, these veterans, did perfectly.
03:31And for me, precisely, these attempts later on
03:37to do things between TV, cinema and other genres to make films,
03:43don't interest me so much.
03:45So I'm more nostalgic for classical cinema, for extensionism,
03:50where we write more by image, where there is much less dialogue.
03:53That's what I'm trying to do.
03:54In any case, this is my cinematographic proposition.
03:57Indeed, there is a very, very, very, very,
04:00a great relationship, in any case, with this cinema,
04:03which I am nostalgic for and which I like to this day,
04:06and which I try to do, of course, by modernizing,
04:08taking advantage of this new technology and of my experience,
04:11which is of a young man, 40 years old.
04:15And your last film, La Hauve, is a very special film
04:21which, in quotes, has made trips,
04:25it really has made trips, this project, L'Oasis des Eaux.
04:30Jele, can you tell us about the youth, the birth of this film?
04:37In fact, this film, for me, is a necessity,
04:40in the sense that I tell a part of my life,
04:43of course, by adding dramaturgical ingredients to the show.
04:48But basically, it was a period when Raoula, my wife and I,
04:53gave birth to our first and only son, Liazine.
04:58And at his birth, I suffered from what is called the syndrome of the jealous father.
05:03I felt that this newborn, our son, came to take my place.
05:09And it was from this situation that I experienced for a few weeks,
05:14not to say a few months, that I had,
05:18that I decided to share this, a kind of catharsis.
05:24In any case, most of my projects, especially cinematographic ones,
05:29are first personal experiences, and then we move on to development.
05:33And so, Jele was precisely the birth of my son
05:37that pushed me to live a situation that I had never expected,
05:42and that pushed me to tell it in image and sound through L'Oasis des Eaux Jele.
05:47And it's very interesting what you're saying,
05:50because there are those who really put a gap between the artist and the work,
05:57and there are those for whom the artist is inseparable from his work, from his work.
06:02And after writing this film, after filming it, after editing it,
06:08is the work of catharsis really done for you?
06:12So, there were steps. In fact, I wrote it, I put it aside,
06:17because I was afraid to talk about it.
06:19It was half-courageous, but not to the point of deciding to share it.
06:26But it took me a few years, and at one point,
06:29the reconciliation was totally done, especially seeing our son grow up,
06:34being proud of life, being disappointed with some teenage attitudes.
06:38At that point, I wanted him to do it before he reached adulthood,
06:42but when he became aware that he could understand things told in this film,
06:47to do it. So, the catharsis was done even before filming it.
06:52But it later became a necessity to transform this paper that I wrote into an image.
07:00So, yes, I think that to answer Amna's question,
07:03the catharsis was done through this film.
07:05And I also want to go back to your analysis.
07:09Indeed, I am part of the first category,
07:13the one that can't separate the personal from the professional in cinema.
07:18Not in TV, because in TV, I never write what I direct.
07:22But in cinema, I think it's a personal space, but open to everyone.
07:27Exactly, a sharing of sensitivity that we all have in common.
07:31And what I would also like to know, Raouf,
07:34for this film, it's almost an enclosure.
07:37So, it was built, the sets, how did it go concretely,
07:41and why the choice of this enclosure?
07:47Everything is related to the symbolism and the metaphor.
07:50I decided that this film should be based on the direct name,
07:54on the symbolism and the metaphor.
07:57And so, thinking about the spaces where my characters should evolve,
08:01I found myself, and I also go back to the title,
08:05the oasis is the family, it's the metaphor.
08:08So, this oasis is this house that has a main character.
08:12And I couldn't, as we do, due to our means and our financial difficulties,
08:17as we all do, my colleagues and I,
08:20adapt to the sets that we find so heavy.
08:24No, I couldn't on this film.
08:26I wanted to tell this story as I imagined it in these spaces.
08:30And it's true that it's very difficult financially,
08:33in terms of production.
08:35Now, otherwise, it would have been a 100% failure.
08:41Yes, Clos imposes himself, precisely,
08:44because they live together, but they are alone.
08:46It's actually the notion of loneliness that pushes you to tell situations,
08:51or to write in images and sounds of situations,
08:54where you find yourself telling them in confined spaces.
09:00In fact, this kind of personal film has never undergone
09:04this machiavellian system of fabrication,
09:08where you tell yourself...
09:12In fact, things evolve with you.
09:15The story evolves while writing.
09:17You don't know where you're going.
09:20I think Louis Clos is imposed by the situation of the actors,
09:25by their state of mind.
09:27And I think I was right to decide on this choice.
09:32And by the way, is he in the theater right now?
09:35Yes.
09:36Exactly.
09:37Yes, he's in the theater.
09:39In Rabat, in Casa, in Jdida, soon in Tangier.
09:45I don't want to name the theaters.
09:48The audience will see it alone.
09:50Soon in GFS.
09:51I'm very happy because it's a nice release,
09:54with 13 or 12 screens projecting it at the same time.
10:00We will then move on to the theaters
10:06that have just been created by the Ministry of Culture,
10:09the 50 theaters already ready in the small villages.
10:11That also makes me happy.
10:13So go see it.
10:15It's not a commercial entertainment film.
10:19It's a different film, but it deserves to be seen.
10:22The Moroccan audience is smart enough
10:27to be able to see and digest several cinematographic genres.
10:33I strongly encourage you to go see it
10:35and discover this very beautiful universe
10:37and this film that comes from the trips signed by Raouf Sabahé,
10:40the oasis of waters.
10:41Thank you, Raouf, for being with us.
10:43We're going to watch a little clip
10:45to make the audience feel at home.
10:47Thank you very much, Raouf.
10:49Thank you.
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11:59Thank you very much.
12:01Let me find what's left of it.
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