Luck Razanajaona presents, from its inception to its realization, the concept of his film "DISCO AFRIKA." A socially engaged film, well-received at the FIFM, that the young director dedicates to the youth of his country, Madagascar.
How did the idea for your film "Disco Afrika" come about?
Returning from ESAV in Marrakech in 2011, I started thinking about the future the Malagasy youth can have in a country where there is a political crisis every 10 years. So, I began writing the character of Kwamé, a young man without a diploma but in search of his father. And the idea came to me like that.
What does it mean to you to represent Madagascar in an international festival here in Marrakech, where your film is selected in the official competition of the FIFM, especially as a graduate of ESAV and having participated in the Ateliers de l'Atlas last year?
The film is very symbolic because the last internationally produced film that was in a category film festival was in 1996. And today, I am here representing a film in co-production with several countries. So for me, a great honor, and for my country, it's an opportunity.
The film's title suggests a connection with the artistic and musical movements of the 70s. Could it also be an allusion to independence movements in Africa?
I wrote this film based on Pan-African music played in the film. It's important to know that Madagascar played a significant role in the fight for the independence of African countries. We contributed to Mandela's release from prison in '91. I was a bit nostalgic for that time, where we had a moment of greatness for Madagascar, but today we are the poorest country in the world. So, I wanted to address that.
By depicting clandestine sapphire mines, you address realities often unknown to the international audience. Why did you choose this specific context?
In our country, there are many land expropriations, even in the city. Additionally, Rive, Kwamé's friend who died [in the mines], returns twice in the film as a ghost. We have a tradition called "famadihana": every three years, we unearth the dead and have a big celebration. So, I wanted Rive's ghost to come back to ask Kwamé questions but also to be benevolent with him because, ultimately, the dead are always with us.
The character of Kwamé, who was not necessarily involved in the political issues of his country at the beginning of the film, finds himself confronted with rampant corruption in his country. How does this reflect current challenges in Madagascar or in other African contexts?
Young people tend to leave the country to start a new life in Europe or elsewhere. And I really wanted this film to be a punch, a reminder that it's up to us to take control of our country. So, let's all go, and as they say in Madagascar: "Alefa Madagascar!"
