In a significant shift, French cinema is finally beginning to confront its colonial past, with a new generation of filmmakers emerging to tell stories previously overlooked. This change is epitomized by the biopic "Fanon," which chronicles the life of Frantz Fanon, a psychiatrist and a key figure in the fight for Algerian independence. Directed by Jean-Claude Barny, the film focuses on Fanon’s experiences in Algeria during the 1950s, a period marked by intense struggle against colonialism.
On a bright Sunday afternoon in Paris, the film premiered to a packed cinema, where applause erupted as the credits rolled. This stirring reception reflects a growing appetite for narratives that address France's colonial history, a topic that has long been avoided in mainstream French cinema. For years, the industry has largely ignored stories related to colonialism and slavery, but recent developments indicate a turning tide.
“Cinema used to be an exclusive club,” said Régis Dubois, a researcher who has studied Black representation in French film. “For a very long time, there were no Black directors in France. There were none, except for Euzhan Palcy and Christian Lara, who struggled to find their place.” Dubois noted that the industry is now seeing more filmmakers from minority backgrounds taking the director's chair.
The production landscape is also evolving. In 2022, the war-drama "Father & Soldier" premiered at the Cannes Film Festival, telling the story of Senegalese soldiers who fought in World War I. The film stars Alassane Diong and features Omar Sy, a prominent actor and producer in France. “As a producer, I'm lucky enough to be in a different place where I'm helping to shape people's imagination,” Sy said, emphasizing the importance of diverse storytelling.
Fanon's success is evident; in its first week, the film sold over 23,000 tickets and expanded its reach from 70 to 107 cinemas nationwide. The momentum continues with screenings of Simon Moutaïrou’s "No Chains No Masters," a film about runaway slaves in Mauritius, and Mati Diop’s documentary "Dahomey," which won the Golden Bear at the 2024 Berlinale.
“Every film that we produce in our company is a response to a void,” said Sébastien Onomo, producer of "Fanon." He recalled his own experiences of growing up without films that reflected his heritage. “I lacked these stories when I was young, when I went to the cinema and there were no films that told the story of my parents, which was also part of my own story.”
Despite this newfound focus on colonial narratives, the film industry still has a long way to go. Between 2004 and 2023, France produced 4,161 feature films, but only one, "Case Départ," addressed slavery. Dubois pointed out that slavery remains a taboo subject in France, largely because it conflicts with the national narrative of "liberté, égalité, fraternité."
Other countries have tackled their colonial pasts more openly. In the United States, films like "12 Years a Slave" and the miniseries "Roots" have garnered critical acclaim for their portrayals of African American history. However, while many British films address colonialism, they often do so from the perspective of the colonizer.
In contrast, French films like "No Chains No Masters" center on the experiences of the oppressed. The film highlights the characters of Massamba and his daughter Mati, who escape from a plantation, showcasing their culture and resilience. This emphasis on self-determination marks a refreshing departure from traditional narratives.
Looking ahead, the film industry anticipates further exploration of colonial themes. A film about Furcy Madeleine, a slave who famously challenged his owner in court, is set to be released later this year. As the team behind "Fanon" aims to build on its box office success, Onomo expressed hope for continued audience engagement: “We’re still hoping for a massive turnout. This effort must go on, so that we can say that these stories are not only of interest, but that from a purely pragmatic and economic point of view, they are selling tickets.”
In a related context, French President Emmanuel Macron has also addressed historical injustices, particularly regarding Haiti, which marks 200 years since the indemnity imposed by France for its independence. Macron announced the formation of a joint commission of French and Haitian historians to investigate this legacy. However, his statement notably omitted any mention of reparations demanded by Haitians.
On April 17, 1825, Haitian President Jean-Pierre Boyer was coerced into accepting an indemnity of 150 million gold francs in exchange for France's recognition of Haiti's independence. This indemnity has been described as a “double debt,” which burdened Haiti economically and perpetuated poverty.
“In a world that was still largely colonial and based on slavery, it was seen as an aberration that former slaves were able to free themselves,” said Frédéric Thomas, a Haiti expert. The indemnity imposed on Haiti effectively turned the country into the first and only one where the descendants of slaves compensated the descendants of their masters.
Macron's announcement, while acknowledging the historical injustices, failed to address the ongoing demands for reparations, which many Haitians believe are necessary for true reconciliation. “The first step would be for France to apologize, to recognize their wrong and to offer reconciliation,” said a Haitian-American scholar, emphasizing that mere words are not enough without corresponding action.
This sentiment echoes calls from various Haitian leaders, including Leslie Voltaire, who urged France to repay the debt of independence and provide reparations for slavery. The historical context of Haiti's struggle for independence and the subsequent economic burdens imposed by France continue to resonate deeply within the Haitian community today.
As both the film industry and political discourse evolve, the need for confronting colonial legacies remains paramount. Whether through cinema or reparations, the journey toward acknowledging and addressing these historical injustices is only just beginning.
