The Cameroon film industry was born on this day some 14 years ago in Buea the city of legendary hospitality. These young men and women at the time mostly in the prime of their youths choose a path which was incomprehensible to many including their own convictions about the things they really dream of accomplishing. They were so passionate about what they watch on TV especially the Nigerian films which ignited hope of possibility to make it happen back home. In their minds, they saw all those dreams happen in a month! Little did they know that the journey to implement a structure which could act as a mechanism to consistently stabilize the products of their arts and same time sustain the stakeholders’ livelihood will be a matter of years of fighting and struggles.
Fourteen years of CFI’s existence has been culminated with so much challenges stemming from organization, structuration, implementation, production and the ongoing challenging one which is distribution; a global crisis in the sector with Africa hardest hit.
In the mist of all these challenges, CFI has still been able to take some major steps which have leaped the baby industry into maturity. Some of their accomplishment since its creation includes:-
- The formation of the different active guilds as stipulated by the 2008 kumba resolution which mandated waa Nkeng Musi to convert mere words on paper to action.
- The formation and implementation of the first ever BOD of directors of CFI after the Waa musi Coordination.
- CFI raised the membership from less than a hundred and fifty from its creation to more than one thousand five hundred members nationwide.
- CFI is actively present in six regions within the national triangle.
- The production and validation of the production code which is a binding document guiding the activities of the guilds and her members.
- The production of membership IDs of CFI members.
- The CFI through her influence, in 2013 proposed the Cameroonian category to be implemented at the lone Cameroon film festival at the time Ecran Noirs which never had the category for local productions.
- The CFI through her influence championed by Agbor Gilbert ebot for the first time since Cameroon’s independence was enrolled at the Cannes film festival as “Cameroon film industry” with an entry in the festivals world directory “Cinando” as the first ever Cameroon entry as an industry.
- CFI engaged serious partnership with the Turkish embassy to facilitate cultural exchanges especially in the domain of cinema to get local filmmakers travel and gain experiences there and vice versa.
- The CFI has backed the validation of so many activities of her members not leaving out events such as the Sonnah Awards and many private initiatives.
- The CFI through her secretariat has backed countless of her members to acquire visas for their trips abroad especially for awards ceremonies, productions and other cultural activities.
- CFI has partnerships with some renowned hotels and sites within the country that permits her members to benefit a reduction of cost from their services.
- The recent OSCAR entries couldn’t have been possible without the BOD of delegates of the CFI. Today we talk about Netflix and other international platforms, let’s not forget CFI’s pivotal role to see it all happen. And the list goes on and on… The above successes of the CFI cannot be undermined because so many people lost other opportunities in their lives just to see the CFI exists. These men and women may have had their shortcoming in their individual perspectives but we need to celebrate them with passion in this industry. I wished we had been where we were dreaming to be before now otherwise we would have had them in the hall of fame in the CFI for their selflessness and endless sacrifice.
- JOE WALKIE
- TANGIE SUH NFOR
- VUGAR SAMSOM
- ANGU ELISABETH
- ALEX MBEAO
- AGBOR GILBERT EBOT.
- NCHE FRANCIS
- WAA NKENG MUSI
- CHATO COLLINS SONGBI
- MOMA PASCAL NGAMI.
- GODLOVE NEBA NYAMBI JR
- ESUA JULIUS
I don’t know about you reading my mind as I think aloud; these people to me are very unique in their passion for this industry’s evolution. On a day like this let’s celebrate them, give value to their special contribution and pray they all see the “Rome” they have been fighting for. While we celebrate these heroes that have laid the foundation which we stand on today; we can’t leave out some excellent and hard working men and women who have stood through this vision either directly or indirectly to see us at this stage of our evolution in the likes of Ngatou Noutossi Glaradip, Molimi Cletus, Neba Lawrence, Chinepo Corsson, Alenne Menget, Ashu Egbe, Njamsi Roland, Itambi Delphine, Amandy Alfred, Akim Macaulay, Awah Oliver, Adama Grace, Claude Henry Ndegue, Yibain Emile Chah, Anurine Nwanembom, Billybob Ndive, Ngouffo Serge N., Musing Derick, Elung Brenda Shay, Billy Bob Ndive, Nkwah Kingsly, Acha Priscot, Princess Manka, Tanko Francoise, Chi Anthony, Enah John Scott, Nkanya Nkwai, Achile Brice, Asaba Ferdinand, Musing Derick, Keka Sylvester, Nsuh George, Nkwah Kingsly, Nwanna Goffi,Rene Eta, Alfred Melo, Ngongan Matheu /Glory M. of blessed memory, Aisha Innoua, Kucha, Akuro Titus, Ala Leo, Agbor steeve (Big steeve), Syndy Emade, Tum Stephany, Asah Elvis, Akuro Titus, Godwin Nganah, Sylvanus Awae, Takong Delvis, Enow Tanjong, Agbor Obed Agbor, Awemu Pius, Ivanne Namme, and the list goes on…
The past fourteen years have been slow and fruitful on one part and generally very rough on the other side. The state of the industry so far as expected before now is not reflecting the anticipated picture of who and where it wanted to be. The horrible realities that filmmakers undergo to conceive, produce, distribute and live a life are scary!
- No signs of investment support yet from the state.
- No stable structure yet nationally recognized to run affairs of the sector.
- No structured distribution chain to guarantee return of investment.
- Inadequate training centers to ensure sustainability in skill development.
- No major media platform created to give visibility to local production with aim of revamping the culture of film production and hence its promotion.
- Inadequate accredited distribution companies to aid distribution.
- Limitations to acquire basic permit to get access to some places and props to shoot.
- High cost of local productions by some industry professionals leading to a decline in investments in the sector.
- Absence realistic partnership with the ministry of culture
- The content of most local films are out of touch and out of our local realities, need for producers to understand the basement of film production.
- Poor wages to cast and crew despite the high budget forecast of some producers to investors, distributors and exhibitors.
- Poor treatment of local cast and crew on basic logistics, accommodation and well being
- No respect of contract or no contract at all.
The above setbacks so far are the issues currently plaguing the state of the CFI which I think if carefully looked upon by the stakeholders may drastically improve on the horrible realities which we encounter on daily basis in our industry.
As we brainstorm on our way forward, lets challenge ourselves at individual levels to add our contributions like we never did in the past, at the same time to engage in conversations that will add value to our understanding of the evolution of today’s’ industry’s trend. Shall we remain to be babies at fourteen or change our perspectives and move forward? The time is now, let’s go back to the CFI of love and build what we will leave behind as legacy to the next generation which is already by the corner.
By Tanwie Elvis De dadies