Storming Papa Doc
Documentary
directed by Mario L. Delatour
On July 28 1958, ex-army officers to Haiti from Florida landed in Delugé. They take possession of Dessalines Barracks behind the Palais National, in order to remove President François Duvalier. The night of July 28 to 29will be a long confrontation between Duvalier and his attacker. Former Captain Alix Pasquet, Lt. Henry Perpign, Dominique Philippe along with 5 American mercenaries.
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#duvalier #haiti #tuskegee #haitian #army #mercenaries #president #florida #documentary #film #dessalines #papadoc #history #istwa

Richard Senecal. Just say this name to Haitian movie fans, and you get an instant smile, and in the next second, mentions of the movie Cousines and the fan favorite I Love You Anne.

A Richard Senecal film to most movie fans means a work of quality, marked with professionalism, and an especially good story. Senecal, who begun his career as a television commercial helmer, and as the name behind a great many Haitian music videos in the early and mid-1990s, has the visual arts in his blood, having had a grandfather who was one of Haiti’s first professional photographers.

After serving as the Director of Photography for a couple of film projects, including Reginald Lubin’s film La Peur D’Aimer, Senecal sought to venture out on his own. The project: 2002’s Barikad, a simple story on the surface—that of a young girl sent to work miles from her home in the household of a wealthy family in Port-au-Prince—opened up new possibilities for Haitian cinema. The film, produced by Sénécal’s Imagine Haiti film company, launched the careers of so many young Haitian actors and actresses, many of whom who have sustained their popularity nearly a decade after the film’s release.

The film’s cinematography and apt use of a musical score, in addition to its easily relatable plot of class inequity touched the inner nerves of film audiences. Some cited the film along with a plethora of other Haitian movies that were released around that time, and following Barikad, as a sort of renaissance for Haitian films. The comedy I Love You Anne, Senecal’s next film, was cited as the biggest Haitian film blockbuster, as it seemed to be a hit that took not merely Haiti by storm, but swept the entire movie-buying Haitian diaspora off its feet. The movie’s lines became catch phrases, and catapulted comedian Daniel “Tonton Bicha” Fils-Aimé and singer-turned actor Joe Zenny Jr, in a new category of stardom.

With Cousines, the storyline was much more serious, and this time around Senecal recruited Geneus, the teenage actress now 20-something who had made her screen debut in Barikad, and Hollywood heavyweight Jimmy Jean-Louis came on board, along with the late veteran actor Roland Dorfeuille and fresh faces like Jerry Lentz Rocher and Elizabeth Soledad Jean (all delivering widely-praised performances). The film got a glowing review from Variety, and was screened at the Montreal World Film Festival, the Fort Lauderdale Film Festival and received awards at the Brooklyn International Film Festival.

Since Cousines, Senecal has shot the yet-to-be-released I Love You Anne sequel, and has done several documentaries, but is predictably revisiting the fictional form soon.

Q&A

You helped start the trend of working with virtually unknowns in the Haitian film industry. We would appreciate it if you would comment on this. The advantage and the disadvantage? Or any other thoughts.

I don’t know if I started a trend. Truth is, at the time I entered that market—around 2001—the only known actors were the ones playing kind of “cliché” characters. I can remember Raynald Delerme, Jean-Gardy Bien-Aimé or Jesifra. They were not people that I would use for an ordinary drama such as Barikad —the first movie I directed. They were not “neutral” enough—or if you prefer—they were too strongly identified to the characters they used to play. Furthermore, most of them were also the directors of their own movies and it remains to be seen if they actually can be directed by somebody else. So I ended up having no choice but to make auditions. From that emerged actors such as Fabienne Colas—who was actually my second-choice for the role—Gessica Généus—16 years old at the time—Handy Tibert and Haendel Dorfeuille. I find it more interesting to work with newcomers. It’s very easy to teach a motivated person. It’s much harder to manage a person who already learned the wrong way.

What actors would you jump at the chance to work with?

There are two manners I select an actor. First, I can select the person that I think will fit the role best. This can only be done through auditions or by selecting someone I worked with in the past and who I’m confident can play the character. The other option is to write the entire script knowing well before who’s gonna play the character. This was the case of Cousines. I wrote it knowing well in advance that Gessica Généus would play the main character. Therefore I cannot say that I would jump on an actor. This is I think more a producer than a director’s way of thinking. And although I do both at times I think I have more a director’s mind.

What elements make a great movie?

There is no formula for a great movie, or for good art in general. It is all about perception and when you think about perception you see a donor—the movie maker—and a receiver, the audience. In between, there is the medium, the film. The perception of a movie being great depends of all parameters. And the movie maker is only one third of the equation. I never try to do a great movie. I just try to say something. And I think the more you go deep into your saying, the more sincere you are, the more you have a chance to capture the audience.

What advice would you give a first-time director?

I would say, “Do short films first”. There is this unfortunate tendency in our market that any aspiring or “to-be” director wants to make a feature-length film. This is total nonsense. It’s like you want to read a book without even learning your alphabet. A good recipe for disaster. And it’s probably a major cause of the current disaster in the so-called Haitian filmmaking industry—although I don’t like the expression.

In addition to directing Cousines, you also wrote the script. What inspired it?

So far all my scripts have been inspired by personal observations and experiences. Cousines is not very different. I don’t understand the reflection behind movies such as VIP or La Rebelle within our reality. We are a country so rich with original stories that I really don’t see the need to borrow a vision which is far from being ours. It’s a kind of Bovarism that in my sense leads to a waste of resources in an already under-funded industry.

What will it take for the Haitian movie industry to get back on its feet?
Be professional and be original. We must clean the house. There have been too many bad movies the last few years. We must stop awarding fake prizes to fake directors making fake movies. No wonder that the industry is now so fake! People must understand that moviemaking is a profession and an art. So if you’re here to show-off, you should not be awarded for it. Because this poison is killing the industry. Of course there are also technical and distribution problems. There is an obvious lack of funding. But to any technical problem there’s always a technical answer. Creativity is the key. Creativity in the moviemaking process and creativity in the distribution process. There is a lot of attention on Haiti internationally. This is something we must learn to capitalize on.

In addition to helming your own projects, you have also directed projects for the firm Communication Plus. What’s the difference between when you’re overseeing your own project and being commissioned to do a project? Do you feel restrained when you are directing projects not your own?

It is a paradox that my most successful work—I Love you Anne—was one I was commissioned to do. I can do it, I did it a couple of times but in those situations I prefer not to be the artistic director. I think any good director likes his freedom. A film should be the expression of a personal inspiration. Not the expression of a committee or a board’s inspiration—or lack-of. But when you’re spending other people’s money they want to be sure that you’re going the right direction so that they get their investment back and more. So at the end, it’s all about compromise. But the result leads to very different types of movie I think.

Why do you think I Love You Anne is so popular?

In a sense, I Love you Anne made Bicha…But Bicha made I Love you Anne. I think the character goes deep to resonate some cultural harmonies that we might have thought were lost in our evolution from a “lakou-centered” [family-centered] to an urban society. It is the quintessence of Haitian movie, probably lacking the universality of an international-targeted one. But in the context of Haitian audience it works 2000%.

What do you feel distinguishes you from other directors?
I don’t like the comparison game and I won’t play it. I feel distinguished enough by the movies I made. You can give the same script to two different directors and you will probably end up with very different movies. It is up to critics to characterize and categorize.

Most people know you as a feature film movie director, yet you have dozens of documentaries and short films under your belt. Can you please discuss these documentaries and shorts?

The bulk of my work is actually commercial work, mostly TV commercials and corporate documentaries. It is only recently that I started taking a full leave from commercial work to do my own projects. These have included so far fiction films but also documentaries and short films. I have found the web to be an excellent medium to reach an audience. And the web is better suited for short-length products. And I find myself doing more and more of these films.

Movie-wise, what should we expect from you in the near future? What are you working on, etc.

I have many ongoing projects. None of them is feature length feature film project I’m afraid. I’m currently finishing a documentary about Haitian students in the Dominican Republic. This has taken so far two years of my life and we still have a few more months to go. As I mentioned earlier all my spare time goes to the production of shorter fiction films or documentaries. I may consider starting the production of a “real” movie by mid-2012.

Do you think that the earthquake that Haiti experienced in 2010 will change the themes of Haitian movies to come?

The earthquake did change our lives and our perception of this world. This will certainly change our way of making films. This does not mean that all movies will be related to the earthquake event. Myself, I am more aware now than I was before of the triviality of life. So I’m willing to take more risks, to go beyond my own previous self. The only time you can manage is the present. the past is already gone and the future is yet to come. So put all your energy where you can influence. Yesterday is over and there might be no tomorrow.

Haitian movie fans have cited you as one of the best movie directors. Your thoughts on this.
We are still at an embryonic state of moviemaking. So being one of the best is not such an accomplishment. Not that I’m not proud to be an inspiration to many young directors. But I wish strongly that the best is yet to come. I wish there is more true challenge in the future because there is no progress without some kind of fair competition.

You’ve worked with a vast array of Haitian talent: Sandra Lobir, Reginald Lubin, Gessica Geneus, Handy Tibert, Nice Simon, Jimmy Jean-Louis, Roland Dorfeuille, Joe Zenny Jr, Blondedy Ferdinand, Fabienne Colas. Can you please share your thoughts on them as people, and on their abilities as performers?

Again I do not play the comparison game. This would be disrespectful to these people who, when I work with them put all their heart and body in the process. There is no such thing as a bad actor. But there are too many bad directors.

It’s been a minute since your first full-length feature film Barikad, and obviously you have grown a lot artistically since then. If you were to do this movie now, what would you do differently?

I never look back and say I would have done better or worst. By essence, a movie is prisoner of its time. Nothing can change that. Redo it today and it will be different. Not necessarily better. What you see as immaturity might have brought to the movie a touch of spontaneity and sincerity that more experience could have totally ruined. Thousands of people have enjoyed it the way it is and dozens still enjoy it every day. Nothing is perfect and sometimes this desirable sense of imperfectness is very hard to implement in highly finished work.

Haitian-American filmmaker and screenwriter Patricia Benoit is the mind behind the drama Stones in the Sun, (Creole title Wòch Nan Solèy), one of the very few feature films released in the United States that depict the Haitian-American experience. The film was an official selection at the Tribeca Film Festival (where it won the Heineken Audience Award, and a Special Jury Mention prize), not a small accomplishment for a first feature film. Benoit collected quite a cast: Edwidge Danticat plays a role, and veteran performer Michele Marcelin, and new blood Carlo Mitton, James Noel, Patricia Rhinvil, and Thierry Saintine round up the principal cast. The film explores the krazy glue-like bond that exists among families in the Haitian immigrant community and the pains of assimilation and exile.

Q&A
How did you get your start in the film industry?
I founded a community organization with France Pean, called the “Haitian Women’s Program”, and made some educational films.

Is it difficult being both the director and writer of a work?
You need to maintain perspective vis a vis the work and not be too kind or too brutal to your writing.

A portion of the film was shot in Haiti, correct?
We worked with Cine Institute. Their students were amazing. I and the crew were impressed with the level of professionalism. The students never encountered a problem they couldn’t solve and they and the institute are part of their community. Their energy was boundless and they’re a really creative bunch – finding creative solutions to problems. They found actors, locations, did costumes and production design as well as Assistant directors and grip. I’ve already worked in Haiti with groups and I know that it’s essential to work with people who are respected and trusted within their own community.

You’re among the Haitian-American film community. Will you be collaborating with the community in Haiti for future projects?
I definitely intend on continuing. Is it particularly harder to be a woman filmmaker?
Sometimes.

What inspired you to write Stones in the Sun?
My family was exiled under Duvalier.

After the completion of a film, a director has over the course of production, learned a lot.
You are only as good as the people you work with.

Why did you choose the 1980s as the decade for the film’s setting?
The film doesn’t take place in a specific time. It takes place during a military dictatorship after the departure of Duvalier because I didn’t want to focus on political specificities. Hopefully the issues are timeless.

Do you imagine a day when a film like Stones in the Sun will get wide theatre release?
That would be great, but I don’t think that any film with subtitles and not in English gets that yet. A Separation—a wonderful film set in Iran—I recommend that everyone see it—won the Oscar for best foreign film and is only playing in two theaters in New York City.

What advice do you have for aspiring directors and first-time directors? Don’t get an undergraduate degree in film. Learn about other things – in and out of school. Try to get as much experience in non paying gigs and be ready to work really hard without complaining. That way you can watch other people work. Try to see some great movie classics, not just Hollywood films. That way you can be exposed to different ways of making films.

And do you have a few words for actors and actresses on how to make them more appealing to a film director?
I would recommend highly taking scene study classes. For example at HB studios in Manhattan.

Your film had its premiere at the Tribeca Film Festival. That must have been grand.
It’s great. New York is the perfect venue for this film because of the large Haitian community here and because the film takes place here and in Haiti. How did you manage to put together such a great cast?

Through friends, acquaintances and online casting searches.

What’s next on your agenda?
I’m working with Edwidge Danticat on a film that will take place in the peasant community in Haiti.

When filmmaker Shirley Bruno’s film Tezen was screened at the Haiti Cultural Exchange Haiti Film Fest earlier this month, audiences got to see imagination poured on film at its best. Bruno took “Tezen”, a traditional Haitian folk tale, and turned it into a poignant short film.

Kreyolicious: If you could give a budding filmmaker some advice, you’d say…
Shirley Bruno: My advice is to make films. Don’t be precious about the practical parts but, only make films about things you actually care deeply about. It’s pointless otherwise. I know the American industry tends to dismiss shorts but I would say make shorts. Make many. I’ve never understood how young filmmakers think they can handle making a feature if they haven’t cut their teeth on shorts. Even after you make a feature, you can make a short – you can feel free to experiment and take risks with a short. It’s a powerful medium in its own right.

Above: A still from an upcoming project from filmmaker ShirleY Bruno, based on the life of a woman soldier in the Haitian Revolution.

Also, you must truly know your stuff – know your lenses, study color and light for their emotional qualities, study photography, study painting, understand editing, sound design, costumes, production design – learn as much as you can about every aspect of filmmaking, not just script-writing or the camera. Read, read, read literature. Read short stories, nonfiction, biographies. Read stories that talk about people like you as well as stories about people who are nothing like you. Look for the universal truths in everything you absorb, the stuff that makes us human. Whenever you discover a film that really moves you, go and spend the next weeks watching only the work of that one particular filmmaker so that it’s a real study of her/him. This way you can see how they evolved, what they’re about, what is their process even if it’s nothing like yours.

Kreyolicious: Interesting…
Shirley Bruno: Don’t obsess over the newest camera or the latest rig. This is also pointless. Good cinema can be made with a crappy camera if it’s right for the story, if the acting is good, if the story you are telling is meaningful to you. Don’t ever be concerned with making a pretty picture or getting some big actor in your film or a well-known cinematographer or whatever. As I said, cinema is made up of smoke and mirrors. Aim to do more with less. Find the simple and most creative way to tell your story. Be bold. But be flexible. Better to fail at making something that means something to you then to make a soulless film that you think the industry may like. What other people like has nothing to do with you. That is their business. You can only make a film you like. Travel. Meditate. Get in tune with your interior self, your inner stories. Make films about things that get under your skin, things that scare you, bring you to tears, reveal who you really are when no one is looking. It’s pointless to tell stories that have no heart. Only when you tell stories that genuinely move you can you have a chance at moving someone else.

CLICK HERE to visit film director Shirley Bruno’s website!

Five Haitian films will be screened at this year’s edition of Vues d’Afrique, a film festival that highlights films from the African Dyaspora. Among them…

1. Kamelo: A short directed by Jean-Claude Bourjolly, a filmmaker based in Port-au-Prince.
Screening(s): May 2/2 P.M.
Director: Jean-Claude Bourjolly

Rundown: The film covers the filmmaker’s perspective of life in Port-au-Prince in the early 1980s. According to the festival information sheet, the film also features music from singer Carole Demesmin. Some time ago, I had featured an interview with this very same filmmaker on the site. The interview can be read BY CLICKING HERE.

2. Victorieux ou Morts Mais Jamais Prisonniers [Victorious or Dead, But Never Prisoners],
Screening(s):
Director: Mario Delatour
May 1/ 10 A.M.
May 3/ 2: 15 P.M.
90 Minutes

Rundown: A partly-animated documentary about a would-be of invasion of Haiti by three former members of Haiti’s army. Kreyolicious previously had an interview with this filmmaker as well! You can read it HERE.

3. Jimmy Goes to Hollywood
Screenings: May 2/
Director: Jimmy Jean-Louis

Rundown: A chronicle of the popularity of African cinema.

4. Histoire de la Banque en Haiti [History of Banking in Haiti]
Screening(s): April 30
Director: Frantz Voltaire

Rundown: An introspective look at Haiti’s banking system from the 1880s to contemporary times.

5. N’ap Vanse, Vap Vanse [We’re Moving Right Along]
Screening(s): April 30, 12:15 P.M.
Director: Andre Vanasse

Rundown: Lodging in Haiti.

CLICK HERE TO VISIT THE VUE D’AFRIQUE WEBSITE!

It’s that time again! Haiti Cultural Exchange, which has made it its business to spread awareness about Haitian culture, is having its annual film festival. You should go and you should also invite your friends. Hosted by radio and TV host Carel Pedre, the festival will last for an entire week, and will feature a total of sixteen films. Why should you go? Well, why not? Here are some reasons why I think you should head on to the Third Annual Haiti Cultural Exchange Haiti Film Fest!

1. You never go anywhere.

You haven’t been to New York and would very much would like to. Or you’re in New York, but you stay home, locked up in your room all day, you might as well be in the boondocks somewhere in Kentucky. But what to do? Get out for once! And what better way to enjoy life and enjoy yourself than at the Haiti Cultural Exchange’s Haiti Film Fest!

2. It ain’t just about the music, maaan!

Yep, there’s some hip music involved. Music? Yes, music—music as in opening night headliner Ioan Delice and roots artist Sanba Zao, and DJ Hard Hittin’ Harry.

3. Films galore!

Freedom by Matthew Brown will have its New York Premiere at the festival. Written by Ella Turenne, the docupoem centers on the Haitian Revolution. Wood-Jerry Gabriel, a graduate of Cine Institute—a film school based in Jacmel, Haiti—will debut his short La Veuve (The Widow). Most of the screenings following opening night will not cost you a cent, although a donation is welcomed.

“But,” you say, “I can always catch a movie at the movie theater this weekend!”…Yeah? Could you? Yeah, you probably could, but will they be in the same caliber as the 16 aforementioned films that will be screened at the Haiti Cultural Xchange Film Fest? And if they are, will you also get the opportunity to mingle and network with other folks in the community? Speaking of which…

4. New Haitian friends!

Now kreyolicious boys and girls, you know the last time you were in a room full of Haitians was at your Miami cousin Montoya Bonquisha Jean’s communion back when you were nine. This is the perfect time to reconnect. The three F’s…films, friends, and…what’s the third F? I can’t think of it now, but saying The Three F’s sounded so catchy.

5. You will be contributing to a good cause.

Since its launch in the early 2010s, Haiti Cultural Exchange has been offering one huge cultural lesson after another with its events and poetry readings. Your admission fee will go towards its mission of promoting Haitian art, music, culture—and will assure that there’s a fourth edition of the Haiti Film Fest next year!

The Haiti Film Fest will launch on May 7th at this location:

DROM NYC
85 Avenue A
New York, New York 10009

Be there! Ooh, and also, do catch a preview of Forever Yours—scheduled to be screened on the evening of May 10th—below.

CLICK HERE TO SEE THE FILM FEST’S SCHEDULE

CLICK HERE TO PURCHASE TICKETS TO THE FESTIVAL | CLICK HERE TO READ AN INTERVIEW WITH HAITI CULTURAL XCHANGE’S FOUNDER REGINE M. ROUMAIN | CLICK HERE TO VISIT THE WEBSITE