Judul : AFRIFF: Dreams Endure Despite Disappointments
link : AFRIFF: Dreams Endure Despite Disappointments
AFRIFF: Dreams Endure Despite Disappointments
The first time I participated in the Africa International Film Festival (AFRIFF), I was filled with excitement about the potential, about what it meant to be part of something vast, worldwide, and African.
It was beyond merely a festival; it was a journey of devotion. A week in which filmmakers, critics, and visionaries set aside their regular work and came together beneath the Lagos sun to honor the craft of narrative. I recall thinking, 'This is where cinema truly exists.'
This year, I returned with the same enthusiasm and a receptive heart. AFRIFF has always faced its challenges, yet there's a reason many of us keep coming back: because for one week in November, the clamor of Lagos fades away and cinema becomes the focus. Or at least, that's the intention.
Yet somewhere between the panels that started late, the screenings that failed to take place, and the short films that were moved from one location to another like unwelcome visitors, that sensation started to shift.
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The Guarantee of a Celebration
First of all, AFRIFF holds significant value. It is profoundly and historically important. It goes beyond movies; it's about African cinema establishing its place in the global dialogue.
For more than ten years, it has served as a connection between local filmmakers and global investors, between visionaries and distributors, between our ideas and what can truly be produced.
Each year, emerging directors arrive with a feeling of wonder and a bit of nervousness to witness their narratives unfold on the silver screen for the very first time.
This is where emerging short film directors are seated alongside seasoned professionals, and where an individual you encountered in line at Filmhouse could become your future partner. That's the charm of AFRIFF: the potential.
This year remained similar, particularly in terms of atmosphere. The panels were impressive. Discussions on costume design, Afrobeats, and the future of Nollywood were just as motivating as before.
I was seated in the crowd, listening to individuals such asFolake Folarin Coker and Ugo Moziediscuss fashion and cinema, and for a brief instant, all the turmoil disappeared.
There was an abundance of brilliance visible on stage—clever concepts, courageous declarations, a collective desire to advance the culture. However, behind the scenes, something different was taking place. Something more exasperating, more recognizable.
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The Short Film Shuffle
It began with the short films.
If you've ever directed a short film, you understand the emotional investment involved. Short filmmakers serve as the foundation of a vibrant film industry; they are the innovators, the narrators who remain driven enough to embrace challenges. However, they frequently face disadvantages.
This year, the short film presentations at AFRIFF turned into a labyrinth. The movies were postponed for several hours. Locations were altered at the very last moment.
Certain showings took place without audio, while others had low-quality visuals. Visitors wandered from room to room in search of their friend's movie. Some were never able to locate it.
Then came that unsettling feeling: seeing guests, family, friends, and supporters rise and depart after hours of waiting.
You could see it on the directors' faces, a subtle sorrow. The kind that doesn't shout or cause a commotion, but lodges in your chest like a heavy weight.
For several of them, this was meant to be a significant day. A global premiere, perhaps. A first appearance. An opportunity to present their creations before colleagues and unfamiliar faces, and maybe, just possibly, someone who could transform their professional path.
However, they experienced confusion, inadequate coordination, and a partially vacant auditorium.
The Apology
Credit where it's due, AFRIFF issued an apology. A formal email that admitted to the technical problems, the postponed showings, and the overall chaos that affected the short film section. And that was something, a clear admission that things had not gone smoothly.
Nevertheless, apologies cannot compensate for lost moments. They cannot rekindle the evening when your guests left before your movie started. They cannot remove the sadness of your major premiere being treated as an afterthought.
It's hard to accept because most of us don't attend AFRIFF hoping for flawless execution. We are aware of the system we're dealing with, the unstable electricity, the few available spaces, and the organizational challenges that come with Lagos.
What we desire, however, is compassion. That even when things fail (and they inevitably will), there is someone who is aware, engaging, and ensuring we feel acknowledged.
This year, for the most part, that attention was absent.
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The Duality of AFRIFF
It's simple to dismiss this as yet another "Nigeria happened again" narrative, but that would be unjust. The reality is, AFRIFF manages to get several aspects correct.
The panel discussions, for instance, remain among the most valuable aspects of the event. This year's conversations, ranging from "Fashion Meets Film" to "The Realities of Making Films in Nigeria," were filled with depth. The intellectual atmosphere was palpable.
Dr Sid spoke about outstanding performance and responsibility.M.I. Abaga, with his usual positive outlook, discussed creativity as a means of building a nation.Charles Okpalekerequested financial support from the government for emerging cinematographers. Paul Okeugomade us aware that money results from organization and expertise.
It was thrilling and reflective, most importantly, an adult discussion.
Despite everything, we found ourselves back in the same logistical chaos, with postponed showings, ineffective communication, and bewildered volunteers. The difference was very clear.
It's similar to viewing a movie with an outstanding script but weak implementation. You understand its potential, yet you're compelled to endure its actual form.
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What Could Be Better
AFRIFF doesn't need to change its core identity. It simply needs to make improvements. Fourteen years is sufficient time to have gained certain insights. Firstly, the entire website requires focus. The issues and errors on it were nearly intolerable.
The technical quality of film showings should no longer be uncertain. Volunteers must receive proper training, guidance, and necessary tools to convey information efficiently. Timetables need to be consistent. Independent filmmakers should not be treated as an afterthought in an event that claims to support emerging talent.
Thus the article AFRIFF: Dreams Endure Despite Disappointments
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