Félicité appears to be a film about an African woman who sings in bars to make a living, but it’s a lot more.
Félicité is a woman living in DR Congo. The film begins with her waiting for the result on a repair for her refrigerator. It needs a new fan and it will cost. She then goes to the local bar to perform her music. That’s how Félicité makes her money, by singing. The bar is mostly locals. The repairman Tabu is one of those who catches her performance. However the bar has a lot of roughness and fights are frequent.
One day, her 14 year-old son is hospitalized. He was in a motorcycle crash. His leg is so badly injured, an operation is needed or else it will be amputated. Félicité is told she needs 1,000,000 Congolese Francs in order for the operation to happen. Singing from bar to bar is not enough. Félicité first tries locals who know her, but gets either little money or negative flack. Félicité then goes around the richer areas of Kinshasa posing as family members asking for money.
She’s close to the amount she needs, but it’s too late. The leg became so terribly bruised, amputation was needed. Félicité is shattered. However she develops a loving relationship with the repairman Tabu after he successfully repairs her fridge. He’s able to give the comfort she needs. She develops the confidence to start singing with an elite choir in a college as a hobby. Tabu is also able to talk to Samo and instill in him the confidence to live again.
Tabu again returns to one of Félicité‘s shows, but leaves with another woman. Félicité sees him the next day. She is very unhappy with him, but admits her heart is still with him. Félicité returns to singing in night clubs and singing with the high choir.
The way this film is made is common what one would have for a French film. There’s a storyline with a beginning, middle and end, but there’s also a lot in the background that adds greatly to the story. We see it in Félicité‘s singing. She sings the common African songs in the bars. She also sings gracefully in the elite choir. A lot of what she sings about in the night clubs is the struggle of African people in their daily lives and she belts out her emotions when she sings. A lot of what she sings in the high-class choir is graceful and gives acclaim to God and acclaim to life. Singing is not just a profession for Félicité; it’s a way of life.
Another background element of the film is Félicité‘s life and the lives of all those around her. She exhibits the struggles common of African women of trying to raise a child and trying to make pay. There are many scenes where you see Félicité walking down the streets of Kinshasa. Often the film shows about the difficulty of those living in the DR Congo, or Africa as a whole. We’re talking about a country with a very low wage and people struggling very hard to make ends meet no matter how much or how little they get. The 1,000,000 francs Félicité needs for her son’s operation translates to $650 American dollar. It may not sound like too much to you and me, but it’s almost two years income for the average Congolese. Even seeing how Félicité poses as a family member to rich people in their gated and locked houses shows the rich-poor divide in the country. Often I felt when I was watching Félicité, I was seeing a glimpse of African life.
Alain Gomis does a very good job of storytelling here in this film he directed and co-wrote with Olivier Loustau and Delphine Zingg. Gomis himself is a French director of Senegalese parents. You can see this story is personal to him too. He does a very good job of telling Félicité‘s story while giving people a god look at what life in Africa is like. Véro Tshanda Beya Mputu does a very good job in her debut role. She was able to play Félicité like she is the African ‘everywoman.’ Papi Mpaka also plays Tabu very well. At first, Tabu is just there in Félicité‘s presence, but soon becomes part of her life and her son’s life. It’s like he come from nowhere to be what Félicité needed. The music is one of the biggest elements of the film. The film may be about a night club singer but the music Félicité engages in says a lot about the film and about life in Africa in all its joys and heartaches.
Félicité is a four-nation film collaboration of Senegal, Belgium, France and Lebanon. The film is Senegal’s official submission in the category of Best Foreign Language Film for the 2017 Academy Awards. This is the first time the nation of Senegal has ever submitted an entry into this category. The film won the Silver Bear at the Berlin Film festival, won a Human Rights In Cinema award at the Istanbul Film Festival and was nominated for Best Film at the Sydney Film Festival and the Chicago International Film Festival.
Félicité is a film that doesn’t just dimply tell a story. It gives a glimpse into the difficulties of life in Africa.
I saw quite a few documentaries at this year’s VIFF. A Syrian Love Story was one documentary that gets one thinking.
This is a documentary filmed year by year over five years. It starts in 2010 while Syria is going through its start of political turmoil. It had been under turmoil since the 1970’s when Hafez Al-Assad took power and any reforms promised by his son Bashar, who succeeded Hafez in presidency after his death almost ten years earlier, doesn’t deliver in the reforms he promised. Images of protest met with a violent response from government forces are too common. Caught in the middle is a married couple of Amer Daoud and Raghda Hasan. They have four sons from 6 to 22. Amer is living in Damascus being a father to the children. Raghda is in a prison for publishing a book about their relationship of all things. Amer and Raghda are no strangers to political oppression in their home country. Raghda has face imprisonment because she’s a communist revolutionary and Amer was once imprisoned with his ties to the PLO. In face they both first met in prison and fell in love through communicating through a prison wall.
Sean McAllister is in Syria looking for something about Syria’s crisis to film but something out of the ordinary. He finds it in Amer and Raghda. McAllister also shows us their four sons. The first year he films Amer’s phone conversations with Raghda while she’s in prison. He gets her sons to talk with her as well. McAllister was even imprisoned for a few days for a journalism crime and was able to listen first-hand to the torture in Syria’s prisons. He even meets the older son who broke up with his girlfriend because she was pro-Assad. Despite all this, McAllister does show a case of hope for the future, for all.
In 2012, Raghda is finally free. She is reunited with her husband, sons and the rest of her family. But they can’t stay in Syria, not while there’s civil war that started once Syrian people revolted against Assad during 2011’s Arab Spring. The family move to a refugee area in Lebanon. They do it not simply for the sake of themselves but their sons too. McAllister is nervous for the couple’s future since he knows behaviors of prisoners after they’ve been freed. He hopes Raghda doesn’t exhibit behavior that will hurt their marriage.
In 2013, they find themselves in Paris, France. Things are definitely better for the two youngest children Kaka and Bob. Bob is in a good school and Kaka is able to become a disc jockey at his high school. Things appear to go well for Amer and Raghda as they’re able to make a living for themselves but there’s a sense that something’s wrong. The children sense it.
In 2014, we get a good sense of what’s wrong. Amer and Raghda’s marriage is crumbling. Amer feels distant from Raghda and has a French girlfriend of his own. It upsets Raghda to the point she changes the password on his laptop. She even attempts suicide by cutting her wrists. No doubt it upsets everyone. She them admits she never had the chance to find herself and she feels that despite her political freedom in France, she still feels she can do more for Syria or for others hurt by war.
The film ends in 2015. They two youngest sons have a promising future in France. Their older son reveals his pro-Assad former girlfriend was killed. Asad runs a chicken farm in France and is without Raghda. He wishes her well in whatever she does. Raghda is now in Turkey in a city 20 miles from the Syrian border. She works with refugees and is happier with her life now.
This is a unique story of love that starts with one hoping for a happy ending. We know Syria won’t turn out for the better but we hope that Raghda will be free and will return to her family and they’ll live happily ever after. We all want that storybook ending. Unfortunately it doesn’t end up that way. McAllister knows the problems prisoners exhibit after they’re free and he lets Amer and all of us know it. Over time, it shows after the moves, after Syria’s continued strife and after one senses the love between the two fading over time. It was unfortunate. The moment of hope doesn’t end up being when Raghda is free but rather when Amer is still in France and Raghda is in Turkey. That’s where the true scene of hope for the better is present.
The story is not just about the couple. It’s also about the surrounding family. This is especially noteworthy of the two youngest sons, Kaka and Bob. Bob is six at the beginning and the youngest. He tried to be a carefree child but the hurt of knowing his mother’s in prison is evident. Kaka is ten at the start and familiar with the realities in Syria. He’s able to tell Sean in good enough English his feeling of the situation, and of how he’d either like to fight or kill Assad. As they grow, the changes are present. Bob is getting bigger but has difficulties fitting into his school in Paris because his long hair causes other boys to call him a girl. Kaka is getting a better education but can’t ignore what’s happening to his parents. He can sense what’s happening and has his own opinions on what he feels should happen. Although the two are not the main protagonists, their presence in this story is vital.
One thing about this documentary is that the story focuses more on the fading marriage than it does in the strife in Syria from civil oppression to public outcry to a civil war to the eventual crisis with ISIS. However it does focus on the couple as they were fighting their own war with each other. They go from loving each other and having a closeness while Raghda’s in prison to the love fading over time after Raghda is free and they’re together again. It’s sad that they were closer together when Raghda was in prison. It’s even hard to pinpoint who’s the bad guy. Is it Amer for his fading commitment? Or is it Raghda for her inner strife? Amer appears like a jerk not even willing to try when he says things like “Syrians love prisoners,” but Raghda’s suicide attempt gets you wondering was she thinking of her family at the time?
Watching this documentary, I believe that this isn’t the type of documentary meant for the big screen. With the camera quality, editing and McAllister’s voice over, it fares much better as something for television broadcast. I’m sure that’s what it intends to be. I have to give McAllister credit for having the ability to do all this filming over time and to present a unique story. I also give Amer and Raghda credit for McAllister willing to film them while their marriage was hitting rock bottom and they were showing terrible behavior such as Amer threatening to smash his laptop and Raghda slitting her wrists. It surprises me that they were willing to show things that personal on camera.
A Syrian Love Story may not be a documentary meant for the big screen but it’s a very revealing story that reminds us not all love story has the fairytale ending. despite the hardships they show, it does end on a hopeful, if not happy, note.