Why This Generation of Filmmakers May Never Win an OSCAR!
Just as every abiding Christian hopes to enter heaven, so does every good filmmaker hope to one day win an Oscar. The Oscar, a gold-plated man trophy given by the Academy, is a symbol of great achievement in the 7th Art. Winning one of these is a dream shared by many worldwide.
But how feasible is it to actually win one, firstly as an African and lastly as a Cameroonian?
Since its inception in 1929 at the Hollywood Roosevelt Hotel, it was only eighteen years later that the category for Best Foreign Language Film was introduced. At the time, it was only an honorary category. It later became competitive in 1956 and was most recently renamed Best International Feature Film in the Covid year, 2020.
This category is a key pathway for any foreign nation to win the Academy’s gold-plated trophy. Before I dive into the nitty-gritties of it, let us understand the layout of film-focused awards in Cameroon.
Now, this is where there might be an issue. Film award shows in Cameroon are not solely film-focused. They are often merged with other creative industry categories such as music, media influencers, poetry slam, and many others. There is indeed one award that meets the standard of a designated film award, Le Film Camerounais (LFC) by Francois Elong. It is currently in its 8th edition. Seemingly, the number eight might be an unlucky number, as the organisers announced the postponement of this edition until further notice. Will they now bow out like Canal Olympia in its 8th year?
From my experience as both an organiser and a recipient of a film category award in Cameroon, I have come to realise why organisers focus on merging too many categories within the CCIs. Firstly, media attention. The more inclusive the event, the more attention it attracts. There is also the issue of funding. Most sponsors choose categories they align with, which often influences organisers’ decisions, among many other reasons.
I must point out that most awards in Cameroon do not make it to the decade mark. A lot of them have failed, leaving trophies in the cupboards of filmmakers. These trophies now feel worthless, yet they are not thrown out, because filmmakers worry that this might be all they are ever going to get.
In my reflections, I often evaluate the worth of awards in Cameroon. I can now boldly say that the majority, which of course have now failed, were ego boosters of mediocrity. But one thing you can never take from a filmmaker is their dream. That dream of telling unique stories so well that they get you to that world-acclaimed pedestal. The top five festivals, and ultimately, the Oscars.
Through the Oscar committee in Cameroon, over six country submissions have been made, and none have reached the shortlist, not to mention winning.
I do not think any will for many years to come. To understand the criteria for submissions, do check the Oscars guidelines. I want to focus on the feasibility of actually winning. In the category of Best International Feature Film, the competition pool expands globally. All countries except the USA are eligible, with films meeting the 50% foreign-language criteria. This means we are competing against bigger and more organised film industries in the world.
The competitors have guiding film policy frameworks for the growth of their industries. We do not have one. They have funding and well-functioning industries. Now, many will argue that it takes a good story, that all we need is one good story. This is blatantly unrealistic. Having a good story and film is the bare minimum. Many other factors are at play here. Who funded the film? Did it get into the big five festivals? How popular is it? Are you ready to undertake a campaign for votes?
Many African nations are often underfunded. To date, we have only had a few wins representing Africa: Algeria’s Z (1969), Ivory Coast’s Black and White (1976), and South Africa’s Tsotsi (2005). The funny thing is that the first two were directed by French-born directors. Only Tsotsi can be considered legitimately African, made by a South African director.
This might be confusing, because under the winners’ categories, they are labelled African. But you must understand that strategic decisions are taken to partner with a country and target the Best International Feature Film category to increase chances of winning. For example, Cameroon’s 2019 Indian submission to the Oscars. How does that make any sense?
Most recently, Tunisia made it to the shortlist stage at the 98th Oscars, representing Africa in the Best International Feature Film category with the feature The Voice of Hind Rajab, directed by Tunisian filmmaker Kaouther Ben Hania. Before that was Senegal’s Dahomey, which did not score a nomination. For Tunisia to get a shot at nomination, they need to campaign massively for votes. This will require billions in their local currency, which they might not be able to afford. Now, Tunisia, Morocco, and Senegal respectively hold the top positions for the highest number of shortlists received by the Oscars, though failing to secure nominations.
Why is a largely underfunded and disorganised movie sector in Cameroon fighting for the Oscars rather than working to build a sustainable film industry? Personal glorification? Or promotion for movies to secure distribution deals?
You can agree with me that it will take a couple of decades for Cameroon to stand a chance if we do not fix the prevalent issues.
On individual chances of winning an Oscar, I want to use the example of Nigerian filmmaker Akinola Davis’ movie My Father’s Shadow. The film had a good festival run at Cannes, TIFF, and BFI London, and became the UK’s submission to the Oscars. The filmmaker is Nigerian-British by origin. Just like footballers have the opportunity to choose which country they represent at the World Cup, filmmakers with dual nationalities have that choice. Akinola chose the UK, not by chance, but because he had more chances to get ahead than in Nigeria. Also, his film was largely funded by the British Film Institute. Funding matters a lot in this quest to win the Oscars. Though he unfortunately did not get shortlisted, it does not mean he would have fared better with Nigeria.
Many filmmakers widely use this strategy to increase their chances of an Oscar run. This works mostly for those with dual nationalities who have successfully integrated into the film industries of both countries, which is often a challenging feat.
Aside from this, the final option, which is a needle in a haystack, is getting hired on a film by a renowned filmmaker with higher chances. Examples include Lupita Nyong’o (Kenya), Best Supporting Actress in 12 Years a Slave, and Forest Whitaker (Uganda), Best Actor in The Last King of Scotland. Again, this is not luck. Talent, in this case, is equally the bare minimum. These actors studied and immersed themselves in the USA, levelling the playing field to access such opportunities.
I believe everyone has the right to throw their hat into the ring, but it does not translate to wishful thinking.
In my final article, rounding up the year 2025, I will be dissecting why you may probably never watch your favorite Cameroonian films after their premiere. The issue of film distribution in Cameroon.
Evita Afungfege (Chief)