The framing, color composition, camera movements could definitely alter the way a picture is received by the audience. An Ethiopian cinematographer, Abirham Haile Biru, says that an understanding of the concept of film details could have a big implication in the final output. His heart is captivated with the simple beautiful stories.
One of his films entitled ‘Abouna’ (our father) got him critical acclamation and an award. The film, which was shot in Chad, Cameroon and Niger, depicts the story of two brothers: Amin and Tahir. Abouna was inspired by the plight of the unemployed in Chad, who take a difficult journey to Europe via Morocco, where some make it while others end up in being stuck in Morocco. Abirham Haile is the man behind the critically acclaimed films like Darratt, Abatyew (the father), La Colere des Dieu, woensdag ghaktag. He was able to win many international awards including FESPACO and Venice international film festival in the category of cinematography. Having studied cinematography in Holland, he started a Blue Nile Film and Television Academy in Ethiopia three years ago. Between the academy and organizing an international film festival-Colours of The Nile - Abirham finds time to sit with Tibebeselassie Tigabu of The Reporter and talk about his experience. Excerpts:
Why did you call the festival ‘Colours of the Nile’?
The Nile River is ours; and it can represent our people and what we stand for. When you see the Nile, it has different colours. For instance, you can only see the seven colours of rainbow as they come together harmoniously in the Tis Abay falls of the Blue Nile. Since we are trying to reach African films that tell different African stories, the name of the festival represents what we stand for. Even if the main focus is promoting African films, films from around the world will be screened at this film festival. However, there is also a competition which is dedicated only to African filmmakers. African films are made under a very tight budget and meager technical expertise. And that is why we gave them the privilege of showing these films and compete.
What are the criteria to select the films to be screened at the festival?
We prefer films that tell an African story in an African way. And also we focus on films that have high artistic value. Artistic films, even if they were made with low budget, find a unique way, an artistic way of telling a story. These films might be a good way to show Ethiopian filmmakers how it is done. As much as we can, we will try to pick non-Hollywood films or films that are made by independent filmmakers. In another way, the festival is also becoming an alternative venue for such kinds of films, which were rather inaccessible in Ethiopia.
What are your strategies to promote the festival? And also you have a big budget which is close to 300 thousand euros. How did you expect to raise such a sum?
We were discussing with the French ambassador to Ethiopia the possibility of backing, and the response was very encouraging. There are also international organizations, business community members whom we need to approach. It is not only in cash, but we accept the assistance in services like hotel accommodation, flights, and transport services. As it is the first time, it might not go smooth and perfect; but after the second trial things might get better. As much as possible, we want to make it one of the renowned film festivals in Africa; this might be achievable after ten years.
How are things with the film academy so far?
The school started operation three years ago. But before that there was a pilot program, where we did a feasibility study and tried to answer some questions like ‘who the potential customers are?’, ‘What will be the challenges?’ After we answered that we started the school. Our main aim is to bring change to the Ethiopian film industry. Our priority is quality, so the school is not on a spacious area and it enrolls only 20-25 students annually. The departments include screen writing and directing; light and camera and editing. The director is not obligated to write screenplays but it is a must to know the basics of screen play. There are also courses like production, sound, assistant directorship and TV production. It is a ten-month program and when they leave school, apart from the main ones, they should be able to do TV production, produce advertisement and the like. We are trying to squeeze the 4-year program into ten months. The classes and the courses are very intense.
How do you select the students?
We have a jury. In other countries, most students have an art background but that is not the case here; so it is a bit difficult whom to choose. So our first criterion is a strong will and passion to become a filmmaker. After that we also give qualifying examinations. Luckily so far, our students completed all the courses. They were very dedicated and appear as if they would do anything to pursue filmmaking as a career.
Since there is lack of expertise in filmmaking in Ethiopia, wasn’t it a challenge for you to get qualified instructors?
It was very difficult. We administer exams to select our instructors but the good thing is with the sponsors of many institutions we were able to bring on temporary basis some qualified filmmakers from abroad. As a permanent instructor, we have Abebe Beyene, who established the Ethiopian Film Cooperation. From time to time, we also called upon the BBC scriptwriter, who gives some courses at the academy. We also have a strategy to use filmmakers who come to Ethiopia for different purpose and we assist them in facilitation; in an exchange for our services we get them to offer workshop or lectures for days. We hunt these professionals and they share their experience. One of the challenging issues is that most of the children were not exposed to films in their early ages; so they do not even know that if they had the passion or the talent. We are not saying all these students are going to be the best film makers; but what we know is we need a lot of filmmakers. We will be lucky if we can get two or three filmmakers within five years.
Apart from teaching, do you have your own film projects?
We do a lot of projects in the school. And there was a big film which was planned to be shot in Somaliland but we had some problems and are postponed for now. We have another project with a Switz company as a co-producer. It is a tele film (a film production for television broadcasting). The main roles will be done by professionals and my students will be assisting. The story is also written by my students.
Most of the filmmakers aspire to copy Hollywood story telling but alternatively there are independent filmmakers and also “third cinema”, a Latin American film movement which condemns Hollywood way of filmmaking for being a mere entertainment to make money. What about at your school?
Here we do not teach third cinema; rather we are trying to develop Ethio cinema. What we do is we challenge their creativity. We give them a very small space and ask them to do a 30 second film, where we do not provide them the proper lighting system. We limit their equipment to enable them to make films with just what they have. It has to be our own original story and we should tell it in our own way. Developing a script takes a very long time, researching, support from the expertise. Before the shooting, it should be completely done on paper. Screen-play needs a lot of expertise. It is like raising a baby and the writers should be open to criticism.
I understand that you have studied film in Holland. How did that happen?
I stayed in Holland for 18 years. I studied camera and light. After that, I got my cinematography honor. Within a decade, I travelled everywhere. I did not live in one country for a long time. I left Ethiopia at 16 to enroll in a medical school; but that did not happen. And the time was the time of crisis in Ethiopia and I wanted to tell stories from Ethiopia and Africa. When I enrolled in the school, I did not know anything except the little photography practice back home. But I had to take short courses and the Dutch language to be able to be ready for the school. There were more than 5,000 students but the school only had space for 42. We had to pass intensive examination and appear before a jury. The school gave me an amazing experience. It was an eye opener for me in terms of knowing what filmmaking is all about. I learned the importance of knowledge and discipline. I was the first black man to get into the film school.
How many films did you do so far?
I think it is more than 60 films. From short films, documentaries and feature films and they were all in different formats like 16 mm, super 16 and 35 mm. I did not direct big films so far; I am a cinematographer. But now I have a lot of offer to direct, but my priority is the school.
What kind of stories inspires you?
I like simple stories. I do not want to confuse people. As much as I can, I do not want people to misunderstand my films easily. I like Abatyew; it is about Red Terror in the eye of one painter. It shows the whole picture in the dynamics. When I was reading the scripts of Abouna and Abatyew, I was already imagining the whole picture. I got to know myself when I was in Holland. The school is one of outstanding schools and I was very lucky to join; on the other hand, I worked so hard. I am a guest of honor in Holland. They always welcome me with a big thing; I get privileges at the post offices and the bank. I did films with a renowned director like Alex Cox, the director of three business men. Such kinds of films touch people and it is because of Abouna that now the French Ambassador is supporting us.
What is the way forward for you?
As I say, the school is my priority. I also want to direct. Many of my films were not screened here. I want to do a lot of TV production.
