As the film industry recovered from the surprises from the Academy Awards and started preparing trips to the European film market in Berlin, I took some time out to cover the 28th edition of the Pan African Film Festival (PAFF). Taking place in Black History Month, PAFF is the largest black film festival in the United States. It’s also one of the largest film festivals in Los Angeles, and it’s situated just under 7 miles south of Hollywood in Baldwin Hills. If you’re looking for a wide range of black films from around the world, this is the festival you need to attend.
Whilst it doesn’t have the star status of Cannes, Venice, or Toronto, the Pan African Film Festival did have an incredibly wide range of African and Afro-Latin films in its 225 film schedule. This is exactly why PAFF had been on my calendar for the last few months. Where else can you see films from so many African and Caribbean countries without hopping on a plane?
Anyway, let’s get into it. You’ve probably read some of the reviews posted on the PAFF page, but what was the festival actually like?
The Audiences
Whilst the audience at SBIFF was old and white, I didn’t notice more than a handful of old white viewers throughout the entire 12 day schedule at PAFF. The audience at PAFF was mostly Black. I guess this isn’t surprising given that this is the largest Black film festival in the United States happening in one of the oldest Black communities in Los Angeles. However, it was disappointing to see a lack of support for Black films from the rest of Los Angeles. Especially as these films are almost always overlooked in favor of big Hollywood releases and European art-house films every year.
It was also nice not being the youngest person in the audience for every screening. The majority of the audience was middle aged, but there were a few young faces in almost all of the screenings; either young kids brought by their parents or college students. That being said, the percentage of viewers under 25 was much lower than what I’ve seen at the BFI London Film Festival. To bring it up again, the BFI’s program for offering discounted tickets to anyone under 25 just before the screenings start, would be a great way to fill empty seats whilst boosting a younger audience.
The City
The Pan African Film Festival takes place in Los Angeles, but, if you’ve visited Los Angeles before, you’ll know that it’s a place made up of many small cities. Instead of spreading out from a center like London, Berlin, and Toronto (other big cities with big film festivals) Los Angeles doesn’t have a definitive center. As a result, there isn’t a focus to the city or a center that you can walk from sight to sight on a sightseeing tour. So whilst the Pan African Film Festival takes place in Los Angeles, it’s more helpful to say that it takes place in Baldwin Hills, a neighborhood in South Los Angeles.
Specifically, PAFF takes place at the Cinemark by the Baldwin Hills Crenshaw Mall. It’s a perfect location for a film festival in Los Angeles because: there’s a lot of free parking, there’s a lot of cheap food options in the mall food court, and it’s easy to drive to (yes Los Angeles is a car city). You can also get there on public transport by taking the train to the Expo/Crenshaw metro stop and walking south along Crenshaw. It’s only a 15 minute walk. Although as mentioned, this is Los Angeles, so you’ll probably be the only person walking.
One of the best things about the mall, besides the cheap food options, is the art festival that takes place as part of the film festival. It features a lot of stalls selling African art, clothes, and beauty products. Perfect if you’re looking for a souvenir.
The Experience
Unlike the mess of lines that plague other film festivals, PAFF was pretty well managed. This was probably because it took place in one of Cinemark’s most popular theaters in the country. It has the capacity to accommodate over 3,000 people in it’s 16-18 screens (where all the screenings took place). Plus, buying tickets was a breeze thanks to the ticket selling screens and many box office assistants. PAFF was convenient and stress free; buying tickets, queuing, and getting to your screening was easy.
The proportion of talent attendance was also probably higher than any other festival I’ve attended. Approximately 50% of the screenings were complemented by Q&A’s featuring key talent from the films. This was an even more impressive figure given that most of these artists had traveled from Africa with their first U.S. visas.
The Films
Last, but not least, how were the movies?
Firstly, the selection at PAFF was impressively diverse even though if focused solely on black films. It featured 225 films from 52 countries in 26 languages. To put that into perspective, the Santa Barbara International Film Festival had films from 50 countries, 2 countries behind PAFF. That being said, the quality of the films was pretty erratic. There were a handful of gems from first time filmmakers (see below) which was a welcome surprise, but also a handful of films that appeared to still be in the developmental stage or stuck in clichés.
The feature Films
As mentioned, the feature film selection at PAFF was very hit or miss, which I guess is to be expected from countries without established film industries. I was lucky enough to see 14 feature films during my time at the festival. Here’s how they stacked up. Click the links to read the full reviews.
- The Mercy of the Jungle
- Tenere
- Right Near the Beach
- Verde
- Black Mexicans
- Kings of Mulberry Street
- Redemption
- Granma Nineteen and the Soviet’s Secret
- Bigman Wahala
- Desrances
- Subira
- Gonarezhou: The Movie
- Kijiji Changu
- Ekoua
PAFF’s Best: 1
With a great look, an easy to follow but intelligent story, and two great characters, The Mercy of the Jungle was the best film I saw at PAFF. It was a faultless all rounder that I hope gets a U.S. release in the not too distant future.
The Runner Up: 2
In second place was Tenere a feature documentary from a first time filmmaker. The incredible footage of the migrant journey across the desert on a Mad Max-esque truck is what makes this documentary so awesome.
The Art-House Gems: 3-5
Following up the top two, Right Near the Beach, Verde, and Black Mexicans were three great art-house films that should be welcome at film festivals worldwide. I’m particularly excited to see what the debut filmmakers behind the first two do next.
Popular Films Done Well: 6-10
Kings of Mulberry Street and Granma Nineteen and the Soviet’s Secret were two entertaining coming of age stories that all audiences should be able to appreciate. Redemption and Desrances were two thrillers set in bad times – the former an ex-con struggling with a corrupt system and the latter set in a post-revolution post-apocalyptic Cote d’Ivoire. Lastly, Bigman Wahala was the best mainstream comedy that I saw at PAFF, sparked by the rapport between the two main characters.
The Not So Good: 11-14
Subira was the best of the rest, but it was let down by an un-empowering and cheesy story-line. Gonarezhou: The Movie, Ekoua, and Kijiji Changu all suffered from a lack of production quality and the lack of a well thought out script.
The Short Films
In contrast to the feature films at PAFF, the short films from the Pan African and Films in Paradise short series were consistently good. Here’s our rankings for what we saw:
- The Blue Cape
- She Paradise
- My Father Belize
- Flight
- Handful of Dates
- Jamaica y Tamarindo
- Songs for My Right Side
- Mama Africa
- The Deliverer
- Dolly
Conclusion
If you live in Los Angeles, you need to add PAFF to your film festival calendar. It’s schedule of African and Black film is unparalleled in the United States. The programmers also obviously made an effort to seek out films from debut filmmakers. Their risks paid off, as there were a bunch of gems that I wouldn’t have had the chance to see otherwise. So put in some effort and come to PAFF in 2021.
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