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 Arnrcnn FtxvnrtNc

I believe that life, the image, the continent belongs to

a priority in itself.
everyone . . . It is good that Africans make films here that they feel
strongly about, that Europeans come here to make films that they feel
strongly about too.3

The difference between Sissako's approach and that of the pioneers was ver\-
clear too when he admitted to an interviewer that what interests him in cineme
is 'poetry, but not necessarily revolutionary poetry'.4
Sissako regards with equanimity his personal situation as a half-forced, half-
voluntary exile and never dwells simply on the disadvantages. His attitude is
more fundamentally ambiguous: 'l share this fate with many people who rvill
always remain anonymous. I've lived in different continents and consider
myself both rich and poor as a resuit'.'t Sissako's Life on Eartb begtns with the
quesrioning words of a letter to his father: 'ls rvhat I am learning far from yor,i
worth what I am forgetting about us?' and, throughout his career, Sissako has
u been a filmmaker who uses his own situation and experience as the basis of his
work, with each stage being 'a sort of autobiography': 'For me cinema is above
all a search for yourself. It's through cinema that I attempt to construct myse lf.
as others do through writing or painting or even making shoes.'6 This use of his
own experience is very conscious: 'Autobiography is a pretext r,vhich gives me
considerable freedom'.7
> His graduation film at the Moscow film school (VGIK) was Tbe Gante
(1988), which intercuts the stories of a little boy Ahmed, who plays war games
from which his mother can rescue him, and his father, a real-life soldier senr
on a spying mission and summarily executed. The film ends with a quotation
from Paul Val6ry: '\Var is a massacre by people who do not know each other.
profiting people who do know each other but never massacre each other'.
Sissako subsequently made a trio of very varied short films. October (1993).
shot in Moscow, traced the separation of a pregnant Russian girl and her
African lover, who is leaving Russia to return home. The Camel and the
I Floating Sticks/Le Chameau et les bdtons flottants (1995) was a six-minure
adaptation of a La Fontaine fable made for a French television series. The
twenty-six-minute Sabriya (1.997), by contrast' was shot in Tunisia and
forms part of the international television series 'Africa Dreaming'. A studr-
of erotic obsession, it tells of the story of two young men, Said and Youssef.
who are locked in a close physical and emotional friendship and spend
their time endlessly playing chess in a caf6 on an isolatcd beach. One dav
Youssef meets a mysterious Westernised woman' Sarah, on a train and
neglects his friend to follow and spy on her as she poses seductively in a mini
skirt, a swimsuit and a clinging wet dress. When the disgusted Said leaves, he
too meets another mysterious woman, who strangely resembles the first, on
the same train.

192

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l:-:: :.:: - ::: :-: :::::t>: i-t: ::r--:r-::
bul-ing, of aii ih:ngs. a ci,rcc-'.' ','"'::-::
shot in Sokolo. The film prop.r 3-::::s -'i':11 Slss.lic': -;-=:.- :--::=:r-::.
announcing his impending lisit and his ri'rsh ro iirn ihe:e. Ii ::r-::-.:-s :: -::- ;:
communication sent via a friend returning to Sokolo. -\i lhe eni oi :lr i-::.
Sissako himself lvill likewise carry to Paris a letter from a Sokolo inr.:b:i:r: :,
\ his brother in exile. Though the ostensible reason for Sissako's visit is io :rr;:
his father again, the two are seen together in only three shors: rri'o par.r.,r-
panning shots (first from Sissako to his father, and then from his father ::
ft Sissako) placed near the beginning and the end of the film, and a long-held shc,:
'We
of them walking in long-shot through the fields. hear none of the u-ords the ..
exchange; indeed, since Sissako never indulges in reai conversation, the onir'
verbal indications of Sissako's feelings are in his voice-over comments. manv o:
which are quotations from C6saire's poems and political rvritings. The real
richness of the soundtrack is the music: Salif Keita's song 'Folon' (heard at his
rt arrival and when he is with his father in the fields at the end) and a number oi
i{c lyrical pieces by Anouar Braham. Significantly, the only indication of the
1!f,:,1
jt*, coming of the millennium is the overheard sound of French radio programmes
-.{ (including an interview with a correspondent in Japan).
,rh 'We
lrL see a range of activities in Sokolo to which the film returns: broadcasting
by the local radio station ('Radio Colon - La Voix du riz'), the local post office.
l5 where people - including Sissako himself - are continually attempting (rvith
very little regular success) to make contact with outsiders, and the booth of the
local photographer set up on the village square. A number of anonymous
li passers-by are also seen several times: a man on a motorbike, a lone boy kicking
i - a football through the streets, customers for the village photographer. These
ifrl *,,,,1l1
repetitive actions and gestures give the film its sense of timelessness and, iron-
ically, the only real progression of successive shots in the film depicts a group
r> of the idle young men of the village who are seen initially sprawled out in the
shade but who are subsequently constantly driven back towards the shelter of
F< a wall. It is only when there is no longer any shade, even when they are stand-
ing pressed against the wall, that they give up - to a brief flourish from a
Schubert quintet (the only'Western music in the film).
The only named character in the film, apart from Drahmane (Sissako
himself), is a young girl, Nana, whom the filmmaker meets during the initial
stage of his incessant cycling back and forth through the village (in traditional
garb completed rvith a woven straw hat). She chats with him when they meet.
indicating that she is from a neighbouring village, Kourouma, but subsequentll',
though they both continually cycle to and fro, they always just fail to meet.
Nana meanwhile visits the village tailor, tries to make a phone call and has her
photograph taken on the square. In this sense she is a potential source of nar-
rative, but Sissako preferred her to keep her reticence, because he sensed that

t94
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--s
e

Figure
-Figure 14.2 Abderrahmane Sissako: Herenmkono (waiting
for Happirrcss)

.'
whom the new film is dedicated and rvho died on rhe last
day of the film's shoot-
ing. The film is also a return to Mauritania, emanating, h.
,"yr, .from an
anxiety which I have always had about speaking
var.itania, my
country' which I have always missed. Going brck th..."bout
to make a film was an
essential and necessary intimate act'.1.r
Sissako is nor interested in pre-scripted firrnmaking.
He claims that for Life
on,Earth he brought to Arte just two pages (one of which rvas
the letter to his
father r'vith rvhich the film opens).ro For"Hnrerrakono,also
known as til/aiti,g
for Happiness, he had a synopsis of about forty pages, but the film was essen-
tially improvised rvith the non-professional acrors rvhom he met
in
Nouadhibou, rvho played versions of themserves in thc film
and provided much
of the dialogue.15 His rvorking method was ro bring a mass
of people into his
film 'by inviting them to tell thcir own stories as rvell,. The
firm was the happy

196
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 ArnrcRN Frr-yynrrnc

Sissako has said that 'exile precedes the departure. Xfe make true exile within
ourselves even before we depart. It's a sort of interior exile, which isn't just
limited to Africans'.17 This is certainly true of Abdallah, who is already in a sorr
of exile in Nouadhibou, since he does not speak the local dialect, Hassanye,
does not wear the local traditional dress, and hardly ever goes out. Twice he
goes to visit people who are presumably relatives. The first time there is no-one
to greet him, though the television is switched on to show him a French TV quiz
show, 'the intrusion of a false civilisation in a place of authentic living', as
Sissako put it.l8 On his second visit, this time in traditional dress, he finds that
the material he has chosen is identical to that of the refurbished curtains and
drapes in the room (one of the film's many little understated gags). Visits to
other relatives find him first caught up in a curious flirting ritual between men
and women who sit opposite each other in the room and then, on the second
occasion, being openly mocked by a gathering of women for his inability to
speak the local language.

z Abdallah, we learn, still lacks a passport and his linguistic problems are
exploited by a little boy, Khatra, who deliberately jumbles words when osten-
sibly teaching him the local ianguage. Sissako has said that Khatra's role grew
during the shooting because the child 'imposed himself on the film because he
-l
wanted to act, so I was there to follow him. All the time I found him in front
of the camera, because he wanted to be filmed as much as possible'.1e In the film
> that finally emerged, Khatra provides much of the humour which Sissako finds
so essential, particularly in his role as assistant to Maata, the ex-sailor and
would-be electrician who never seems able to get a light-fitting to work.
The scenes in which Abdallah appears are intercut with scenes which, if we
are to believe Sissako, feature people he encountered in Nouadhibou. Among
these are an old woman, a real-life griotte, who is teaching her not very talented
granddaughter to sing, and a Japanese man, who always seems to be giving awag
rather than selling, the objects from his sample case. He also indulges his passion
for karaoke at home in front of an audience of one. Abdallah also encounters
Nana, whose story of how she visited Europe to tell her ex-lover Vincent that
their daughter was dead, is accorded the only flashback sequence in the film, but
seems fictitious. Another fictional story features the local photographer's srudio,
where Michael, who is going away, has himself photographed in turn with each
of his friends, including Makan. Two weeks later, Makan reckons he must
already be in Spain, but the truth is very different, since Michael's body is washed
up on the beach, the photos still intact in a waterproof pouch.
The same pattern continues throughout the second half of the film. Nana
receives a male visitor, the grandmother continues her teaching, Khatra peels
the metal strip out of a banknote and loses it in the wind. Meanwhile, Abdallah
sits at his ground-level window, watching feet go by, is woken by the sounds of
the women of the village clapping and dancing at a party of some kind, and

t98
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