From: Biniam Haile \(SWE\) (eritrea.lave@comhem.se)
Date: Wed Jul 22 2009 - 13:06:55 EDT
<http://www.shaebia.org/artman/publish/article_5892.shtml> Eritrean
Film Production: Its Challenges and Prospects (Part III & Final)
Eritrean Film Production: Its Challenges and Prospects (Part III &
Final)
Tedros Abraham, Jul 22, 2009
What do those who make and rate films say
In the preceding part of this article, we tried to highlight on the ways
the Eritrean Film Rating Committee (EFRC) works. That part wrapped up
stating that the committee has so far rated about 18 films released
after January 2008.
This part of the article has tried to get the opinions of two filmmakers
and two members of the committee. The writer of the article would also
like to state that he tried to get the opinion of a number of persons
involved in film production to no avail.
Considering the standards and trend that films produced in Eritrea have
been following, it doesn’t seem to have reached to a stage where it
could be labelled as film industry. However, the endeavours the
filmmakers exert to pass various hurdles probably deserve praise.
According to the explanation by Mr. Efrem Andebrhan, writer and
director, filmmakers pass through difficult time to get financial
backing from producers who meddle in the work of art to the extent of
making major decisions. The decisions could also affect the work
considerably.
Speaking of the major challenges of the work, Mr. Efrem stated that the
stories written for films have a major setback. He elaborated that
listing the following as some of the elements lacking in Eritrean films
right now:
- stories do not revolve around (focus) on a single idea
- they try to copy a true story, instead of recreating them
artistically
- not taking enough time, on the part of the writers, to make
profound study on the topics raised; there is a rush to reach to the
shooting stage of a film that is not researched well
- the unavailability of previous works that could serve the
writers as basis or references.
Mr. Saleh Said Rizqey, a writer and director, also supported the above
points. He indicated that many of the writers are still continuing the
work either because they happened to take the job by chance, or have
deep interest but do not have the talent. It is his belief that nothing
has yet been done to call it sufficient compared to potential Eritrean
stories.
Speaking of the technicalities of story writing, Mr. Saleh was able to
enumerate a handful of films that tried to have developed their stories
and ended with a proper resolution; however, he admitted that many of
them have big gaps in their story development with illogical ending. In
his opinion, it appears that there is no hope with regard to story from
those who have already been working in the field for some time unless
they tried to improve their works by getting some training in the field.
He hopes that the younger generation to will come up with new talent and
revolutionizing ideas and stories.
It is well-understood that filmmaking is not an individual’s
undertaking. It involves a number of professionals that make up a team
by complementing each other. In this regard, Mr. Efrem indicated that
these days the cameras used for shooting the films are of better
quality; however, he expressed his dissatisfaction on the division of
labour of the teams involved in the work. He pointed out, for instance,
that very often a single cameraman does the jobs of sound recording and
lighting on top of shooting; and in many occasions the cameraman is the
photography director as well as the editor.
Mr. Efrem also added that the works are usually shot with a single
camera; as a result actors need to act a single scene repeatedly for
different angles of the scene; this leaves them tired and unable to keep
themselves in the mood that the scene requires. This also, he continued,
doesn’t enable the editor to come up with a creativity one can consider
as appropriate.
On this point, Mr. Saleh agrees on the big strides of the technological
advancement of the equipment involved in the field; however, he stressed
that screenplay writing should also go along that development. No matter
what high quality equipment is involved, there will still be a problem
in the art of filmmaking if the story is shaky, he underlined.
Both these filmmakers expressed their high opinion of the Eritrean Film
Rating Committee. They shared the idea that the committee’s work is to
rate how the films are produced, not who produced them. Mr. Efrem stated
that he accepted the critique he received from the committee on his film
“Wazema” wholeheartedly. He thinks that the critique written by the
committee to be enriching in the future works of the filmmakers.
Moreover, both filmmakers stated their ideas on how the art of film
making and other artistic works could be improved in the country. Mr.
Efrem said that there should be an association of filmmakers or writers
to safeguard their rights on their works. He also added that as literary
works, especially film, has a big influence on a society, it is high
time to have a separate government institution that serves as an
umbrella for the development of all kinds of artistic and literary
works.
Also Mr. Saleh stressed that all involved in the art of filmmaking
should get substantial training that could upgrade their ability. In
addition, he stated that there should be a fair and balanced criticism
on the works produced. There had been a number of incidents that
generalized and vilified various literary works in an attempt to
critiquing them. He is of the opinion that it shouldn’t be repeated in
the future.
Speaking of stories in dramas, Mrs. Almaz Gebrehawariat, a member of
EFRC, stated that there had been stories composed of well-developed
characters produced during the liberation struggle. She believes that
although they are not works of cinema per se, they could serve as
references in writing stories and creating convincing characters.
Mr. Ahmed Omer Shiek, another member of EFRC, said that the first film
considered to have created the image of a real Eritrean story is “Barud
77” and another was “Hidri”. He added that they were good with respect
to the time they were produced – mid-1990s. At that time, although plays
also had some popularity, it had its problems. Those problems have
continued to persist in the films produced now. According to Mr. Ahmed’s
explanation, the problems are both in screenplay writing and
cinematography. The presentation of the stories has not yet caught up
with world standards; as it is an on-going process, it should develop as
it is required to. In cinematography, directors should visualize their
work in ordering the events of the story with an angle that is suitable
for cinema.
Mr. Ahmed went on to say that technological development hasn’t yet been
employed in the works effectively. The techniques in photography
directing and camera operating have still problems and need to go a long
way.
Mrs. Almaz also expressed her concern that the issues and topics raised
in various films produced in Eritrea aren’t well-studied; and everything
should be done with full knowledge of what one does. She also
highlighted on some technicalities that the stories in the films lack:
not clearly defining a characters traits; events that are short of
logical sequence (cause and effect relationship); too many
incredibility; too many sub-plots that are put up like a collage without
any relationship to one another; and all these do not give fullness to
the meaning.
Consequently, Mrs. Almaz continued that many experienced actors were not
able to use their talents especially because the roles they are given do
not have consistent characters. She sums up all the problems existing in
the films as basic problems of directing. As the many gaps are found in
all aspects of filmmaking, directors need to work harder than anyone to
improve their skills.
As a solution, Mrs. Almaz recommended the following from her long acting
experience: “Before directly going to shooting scenes, all actors with
the director and writer should first discuss the message of the film and
the traits of each character. This could help to create well-defined
character traits as well as harmony in their acting.”
Mr. Ahmed reminded the filmmakers that they should work hard so that
their audience wouldn’t leave them. They need to find a way to reflect
our face better so as to give the image of the nation. To do so he also
stated: firstly they should take the job seriously so as to improve
themselves as they provide Eritrean stories for anyone interested; and
secondly, the field is not about a single individual, so working only
for the money would be an insult to oneself and the nation. Mrs. Almaz
explained similarly that better work would naturally get better market;
however, working with an aim to get only financial benefits would leave
the work half-baked.
On the other hand, Mr. Ahmed said that it is a field that give the image
of the nation; so it should be nurtured and get financial and moral
support from every individual. He also added that he has an earnest
belief that Eritrean film would reach an elevated stage one day as the
government has created auspicious ground for filmmakers.
Eritrean Film Rating Committee has so far rated 19 films since January
2008. The rating is given in stars accompanied by a critique of the
films written by the committee. Once the rating is issued, it cannot be
changed; however, directors and/or producers can give their comments or
complaints on the rating. So far only two letters of complaint have been
filed. (See the table for ratings of films with the names of the writers
and directors.)
>From the explanations of the filmmakers and committee members, we can
understand that there is a major problem in screenplay writing. This
major challenge could be ameliorated either by establishing an institute
that trains individuals in performing arts and individual endeavours on
the part of the filmmakers to improve their skills.
Another challenge is the awareness of producers in what kind of work
they should invest their funds. They should at least get assistance in
identifying what stories deserve financial backing. It appears that they
focus on getting a quick return for their funds without giving much
attention to what kind of story their money is invested.
Those involved in the field also need to identify their strong parts and
take up the profession as a career. There needs to be professionalism in
specific jobs as everyone can’t do everything at the same time. All
actors can’t be writers and/or directors; all camera operators can’t be
sound engineers.
It is often stated that Eritrea is never short of stories; it only needs
those who can tell it in such a way that it is true to its essence and
present it artistically. Eritrean audience, inside and outside the
country, expect the release of new films all the time; therefore,
filmmaker should do their level best to keep the support of their
audience.
http://www.shaebia.org/artman/publish/article_5892.shtml
Film Title
Screenplay by
Directed by
Rating
1. Menyu TeHatati
Elsa Kidane
Elsa Kidane & Gizenesh Mengis
2 stars
2. Shiyakh
Jemal Saleh
Jemal Saleh
2 stars
3. Burkuta
Mem. Teame Arefayne
Mem. Teame Arefayne
1½ stars
4. Efoyta
Ghirmay Ghebrelul
Ghirmay Ghebrelul
1 star
5. Eti Hitsan
Yosan Biniam
Nahom Abraham
1½ stars
6. Motin MerAn
Tedros Ghebregergsh
Awol Said
1 star
7. Girat Fereka
Zewongel Tekle
Zewongel Tekle
2 stars
8. Nrim
Fitwi Teklemariam
Fitwi Teklemariam
1½ stars
9. Gurhi’do Eshinet
Kidane Ghirmay
Megos Angesom
1½ stars
10. Guramayle
Alamin Alimuz
Abrar Abdelhakim
1 star
11. Nobel
Nahom Abraham
Nahom Abraham
1 star
12. Trikolata
Fikadu Meles
Alamin Alimuz
1½ stars
13. Asmait
Medhane Tesfu
Kesar Zaid
1 star
14. Wazema
Efrem Andebrhan
Daniel T/amariam & Kibra Tsegay
1 star
15. Adhineni
Russom Tesfazghi
Efrem Andebrhan
2 stars
16. Roza
Ghidey Ghebretatios
Ghidey Ghebretatios
1 star
17. Harmony
Efrem Kahsay
Efrem Kahsay
1 star
18. Nayhilmey Wedi
Saleh Said Rizqey
Saleh Said Rizqey
1½ stars
19. Nigsti Alem
Tesfit Abraha
Tesfit Abraha
1 star
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