Met at the end of the screening of his feature film Après la fin, Argentine filmmaker Pablo César discusses in this interview the genesis of his project. Having already produced several co-productions with African countries, he shares his idea of making a film about the city of Oran, which has a historical link with a namesake city in Argentina.
What was the starting point for the film Après la fin?
I met the actress during the COVID-19 pandemic. We couldn’t meet in person, and I heard a recording of her reciting poems; they moved me deeply. I contacted her, and she told me she was too old to start a career in cinema. She had never acted before, and she made her first film with me at the age of 88. This might be a first in the history of feature films.
You are thinking of making a film about the city of Oran, which seems to have a connection with a city of the same name in Argentina. Can you tell us more about it?
Indeed, I am thinking of writing a film about the city of Oran, because there is a city in the Salta province of Argentina that bears the same name, with a slight accent on the “a,” but pronounced the same way. There is a rich history concerning Muslims who lived there, including Pieds-Noirs. I have read many stories about the city of Oran in Algeria, and I have a friend who was born there. I am considering making a film to show the two Orans in a fictional narrative, creating a cultural bridge between the two countries.
What was the greatest artistic challenge in making the film?
We had to find actresses to play the roles at ages 10, 16, and 40. Three different actresses had to bear a resemblance, of course, requiring a tremendous amount of direction for the young actresses so they could embody the character fully.
What challenges do you face in financing and distributing independent, poetic cinema in today’s global landscape?
In Argentina, cinema is going through a very difficult period, as the country has lost many opportunities due to currency devaluation. Government grants for film production have significantly decreased over the past decade.
You have made 18 feature films, half of them co-productions with African countries. Why are these collaborations important to you?
I have done many co-productions with African countries because I feel African. At the 12th AIFF, as part of the South-South panorama, I am presenting a documentary titled Maconge, la Córdoba africaine, referring to the city of Córdoba in Argentina, where traces of the African population that was enslaved during the colonial period still remain. I look for connections between Argentina and Africa through the traces left in our societies.
Everyone believes that Argentina has no relation to Africa, yet if you look closely, you find many links. For example, African artists from Montevideo and Buenos Aires contributed to the creation of tango music and dance. I began co-producing with Tunisia in 1990, then with Cape Verde, Namibia, and many other countries.
What difficulties do you encounter when setting up South-South co-productions, and how do you overcome them?
Co-production is increasingly difficult due to Argentina’s economic situation. Yet it remains a great solution for independent cinema. Everything depends on the choice of the producer and their commitment to supporting a film. It is also important to know that most African film co-productions are with European countries, especially France, and very few with Latin America. Yet the ties between our continents are incredibly numerous, and we share many similar histories.
What do you know about Algerian culture and cinema?
Algeria occupies a very important place in the African imagination, first for its glorious Revolution and its hard-won freedom. The film The Battle of Algiers (1966) made Algeria known worldwide and secured it a prominent place in African cinema.
You have been teaching at the University of Cinema in Buenos Aires since 1992. How has your African experience influenced your teaching?
My experience in Africa has greatly influenced my pedagogical journey. The magic of the continent and its enchanting natural landscapes deeply marked me. Its historical and sociological richness led me to rediscover auteur cinema, oral culture, millennia-old heritage, and the great wisdom present in all corners of the continent.
