The beginnings
In 1955, a group of African filmmakers, led by the Senegalese Paulin Soumanou Vieyra and Mamadou Sarr, made Afrique-sur-Seine and thus put (perhaps for the first time) Africa in the spotlight of cinema. A small success, which begins with images of carefree children playing and frolicking in the river before transporting the audience to Paris, taking them on a bus or Vespa ride along the great arteries recognizable on postcards. We have a drink on the terrace of a café, we end the evening dancing salsa, while wondering and commenting on the life of Africans in this "capital of the world, of black Africa", as Vieyra himself comments. Two years later, the group did it again with Un homme, une vie, un idéal. The groundwork was laid and the Senegalese film cravings were aroused. It still remains to make African cinema about Africa. The production boom of the 1960s, which gave the newly independent country its title of Saint-Germain of the continent, provided for this. Paulin Soumanou Vieyra and other future figures such as Abacar Samb Makharam, Yves Badara Diagne and Momar Thiam gradually entered the dance. Blaise Senghor, founder of the African Film Union (UCINA), co-produced, among others, Grand Magal à Touba, a film that won the Silver Bear in Berlin. These brilliant years of the 1960s also saw the revelation of the cinematographic talent of the writer Ousmane Sembène, who was made a member of the Cannes Film Festival jury in 1967. Sembène and his Noire de... undoubtedly marked this decade, and his "meyotage" (the director's resourcefulness in financing his films) was the lot of many amateurs who began to make a name for themselves.
From the 1970s to the present day
The 1970s marked a turning point for Senegalese cinema. The Sembène school gave way to new visions, such as that of Djibril Diop Mambéty, whose Touki Bouki left a strong imprint. Structures appear. The small world of filmmakers organizes itself: we see the birth of the Cinéastes sénégalais associés (CINESEAS) and the Bureau de la cinématographie. And finally, the State itself launched a number of initiatives aimed at boosting national productions. In 1972, the Société nationale de la cinématographie (SNC) appeared, followed by the Société d'importation, de distribution et d'exploitation cinématographique (SIDEC, 1973). However, if all these names reflect a will to do well, no organization manages to keep the promises made to the Senegalese 7th art. In 1978, the Fonds de soutien à l'industrie cinématographique (FOSIC) wanted to replace the SNC, then, in 1984, it was the turn of the Société nouvelle de production cinématographique (SNPC) to try to take over, in vain. The State disengaged in 1990, proposed a recovery plan in 1994, and the pattern seems to be repeated once again. From now on, filmmakers are turning to international funds, notably the Pan-African Film and Audiovisual Fund, launched in 2010 by the Pan-African Film Federation, with the support of the OIF. In Dakar, where film lovers had a choice of some forty sites in the early 1980s, only a few places still show films: the French Institute, the Goethe Institute and Au cinéma ce soir, an association that shows the same films a few days a month at the Sorano theater as those that can be seen in Paris. After 25 years of absence in the Senegalese landscape, the capital recently acquired two cinema complexes, Canal Olympia Teranga, near the Grand Théâtre, and the Sembène Ousmane cinema, on Martin Luther King Boulevard, which offers screenings in 2, 3 and 5D. Deprived of the 7th art for too long, the Senegalese are flocking to theaters again.
Alain Gomis and renewal
Times are hard, but the page does not seem to be turned for good, because despite the lack of means and visibility, some names are emerging: Moussa Sène Absa, Mansour Sora Wade, Joseph Gaï Ramaka, Moussa Touré, Alain Gomis... The latter, born in France in 1972 to a Senegalese father and a French mother, began his career in the audiovisual field as a video workshop leader for the city of Nanterre. In 2001, he directed his first feature film L'Afrance, which revealed him to the world of the 7th art. This was followed by Petite Lumière (2003), Ahmed (2006) and Andalucía (2008). The year 2012 marked a comeback in style for Gomis, who saw his feature film Tey in Wolof(Today, in French) selected for the prestigious Berlin Film Festival (a film that won the Etalon d'Or at FESPACO the following year). 2012 was also a good year for Moussa Touré, who presented his work La Pirogue at the Cannes Film Festival, in the category "Un certain regard". In 2017, Gomis climbed another step in his filmmaking career by winning the Grand Jury Prize at the 67th Berlinale with his latest opus, Félicité. Released in theaters at the end of March 2017, the feature film tells the story of the struggle of a mother, a singer in a bar in Kinshasa, to pay for her son's surgery after a motorcycle accident. Most recently, the Franco-Senegalese director, Mati Diop receives the Grand Prix of the Cannes Film Festival, in May 2019, for her feature film Atlantique, a moving film about immigration. The year 2020 marks the fourth edition of the Festival Films Femmes Afrique, the first Senegalese film event entirely devoted to women. This edition took place in Dakar and was dedicated to "Women in Resistance" thus continuing its contribution to equal rights between women and men in Senegal. In the same year, Tiziana Manfredi and Marco Lena confirmed the discovery of no less than 5,900 reels of Senegalese films, found in 2009. While in Senegal for the purposes of a filming permit, these Italian researchers discovered this real treasure in an abandoned building. Ten years of training later and with the help of Hugues Diaz, director of the Cinematography of Senegal, Manfredi and Lena restored and processed what seems to be the entire audiovisual archives of the country (from the 1960s to the 1980s). An incredible discovery for Senegalese cinema.
