Odense Film Festival 2019 – Afrika is a Country

An allegorical piece that uses symbolism to tell a narrative about the willful blindness of the “first world” and how inadvertently we feed off the riches of developing countries to maintain the lifestyle we take for granted.

Interview with Writer/Director Frances Kroon

Congratulations! Why did you make your film?

I made Afrika is a Country as a means of expressing something that, for me, has constantly been a source of existential doubt. I think, as a society, we are constantly choosing not to see. We choose not to see how our actions perpetuate cycles or how much power our actions hold. We see ourselves as disconnected from the cycle when in reality we are at the center of it.

Imagine I’m a member of the audience. Why should I watch this film?

If someone were to ask why to watch Afrika is a country, I guess because it is a short reflection of a universal experience. It invites the audience to engage conceptually and disentangle the symbolism in whatever way is most relevant to themselves.

Afrika is a Country

How do personal and universal themes work in your film?

Thematically Afrika is a Country talks about the willful blindness. Universally this has a more political tone with reference to the exploitation of the African continent. There are many layers to the symbolism used, some are more relevant to South African culture. The personal themes relate to trauma. After traumatic experiences, we rely on those around us to keep us safe, to create consequences for the perpetrator. To what extent do those around us, protect us by creating consequences? At the end of the day, cycles stop because someone decided to stop enabling the cycle. Everyone is driven by personal egotistical desires and so we choose to remain blind instead of act. The film became an exploration of this and in the end a way of reinterpreting this kind of betrayal and finding peace with it.

How have the script and film evolved over the course of their development?

The script was created out of images and by making references to existing artists. The symbolic nature of the narrative progressed in this way. The edit was where things changed substantially, ending up by turning it into a cathartic process. There is a point where the images run in reverse and while re-watching them backwards they take on a new meaning. This relates to finding a new perspective on the past. When those around you refuse to create consequences, there is a re-traumatisation that happens. There is a sense of betrayal and a loss of faith in humanity that is extremely painful. In the edit, the story shifted into a place of understanding. An understanding that we are all flawed humans and anger is too heavy to carry forever.

Afrika is a Country

What type of feedback have you received so far?

I have had a range of different feedback so far and I think it ranges according to one’s individual life experiences. Some people see only a series of abstract images together and are not sure of the meaning but have enjoyed the imagery. Others have understood it on a political or personal level, sometimes both. It is interesting to notice that different people take different meanings from the piece, all of which are totally valid.

Has the feedback surprised or challenged your point of view?

One of the pieces of feedback I received has surprised me: Often people have tended to split the characters into all good or all bad with little room for the gray area. They saw the consumerist sitting in front of the television as an ‘evil’ person. This wasn’t my intention. Although dealing with symbols and therefore generalized imagery, I did intend for there to be shades of grey in the depiction of the characters.

Behind the scenes of Afrika is a Country

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

By having this film visible on wearemovingstories.com, I would simply want to share it so that if people are interested in viewing it, they can. I would also be interested in connecting with other creatives who are interested in the same style of filmmaking for future collaboration.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

It would be great to connect with film festival directors to show the film at more festivals and also connect with buyers.

What type of impact and/or reception would you like this film to have?

I would like for people to firstly enjoy watching the film and secondly, to take the imagery home with them, digest it and reflect on it.

Behind the scenes of Afrika is a Country

What’s a key question that will help spark a debate or begin a conversation about this film?

What are afraid to see about ourselves and so instead project externally instead of reflecting internally?

What other projects are the key creatives developing or working on now?

Currently, I (Frances Kroon) have been shooting both commercial and narrative work, which has taken me to the rural areas of South Africa and the island of Mauritius. I am also currently in the process of writing and developing a couple of narrative films. One of which takes place in Mozambique, exploring similar themes to Afrika is a Country. Another is a 5 part TV series that takes place over the course of 200 years in South Africa.

Interview: September 2019

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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us?  More info: Carmela

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Afrika is a country

An allegorical piece that uses symbolism to tell a narrative about the willful blindness of the “first world” and how inadvertently we feed off the riches of developing countries to maintain the lifestyle we take for granted.

Length: 3:04

Director: Frances Kroon

Producer: Talya Stern

Writer: Frances Kroon

About the writer, director and producer:

FRANCES KROON, or ‘Franki’, is a South African Cinematographer who earned her MFA at the American Film Institute in Los Angeles. Frances comes from a diverse background, having lived in both urban and rural South Africa; England; and Honduras. She speaks four languages. Her work is influenced by the Dadaist movement and the Japanese aesthetic of wabi-sabi, embracing imperfection and transience as to what creates the beauty within the image.

TALYA STERN is a graduate of the AFI Conservatory with an MFA in Producing. Prior to studying at AFI, she received her BS in Hospitality Management at Boston University. After discovering her passion for filmmaking while interning at the Cannes Film Festival in 2013, she moved to LA and has since independently produced numerous short films, music videos and a web series. She is currently working at Haven Entertainment.

Key cast: Sibongile Mlambo; Lauren Hall; Jamal Douglas; Whit Spurgeon

Looking for: film festival directors, distributors, journalists, producers, buyers, sales agents

Where can I watch it next and in the coming month? Odense film festival - Denmark - 30/31 August; Schnit film festival - Cape Town.