Cinema in Mozambique "is still alive, but with some wounds"

The Mozambican director, born in the city of Beira, spoke to Lusa about the Mozambican film industry as part of the premiere in Portugal, on June 26, of his most recent project: the film 'O Ancoradouro do Tempo', an adaptation of Mia Couto's book 'A Varanda do Frangipani'.

In the 1980s, after the nation achieved its independence, "cinema in Mozambique became the third company or institution that gave the most money to the State", explained the scriptwriter and producer.

"It was quite profitable because distribution, exhibition and production had been nationalized and the cinemas were naturally very full, because there were no televisions, for example" in private homes, he explained.

It was through this art that "messages reached the entire country", which has more than "ten thousand kilometers of coastline" from north to south, he indicated.

"Then, with the emergence of television, there was obviously a resizing of the role of cinema, but it continued to be and continues to be, let's say, one of the important artistic vehicles", he continued.

However, the screenwriter highlighted that, "as is evident", with the financial crisis, but also with the privatization of the sector and the lack of state support, Mozambican cinema "remains alive, but with some wounds".

"The main problem with Mozambican cinema is the lack of money, because there is no shortage of talent, which is why there is now a young generation that makes films with practically no money," he said.

In his opinion, this Portuguese-speaking country in East Africa is in a period of transition, until it is understood, once again, that cinema can play an important role and until there is a "greater connection with the public television system, which has around 14 channels and offers a lot" to consumers.

On the other hand, Sol de Carvalho believes that this partnership between cinema and television can help resolve the fact that cinemas are far from the population, centered in cities, which forces people to take public transport to watch the art shown.

Asked whether he considers that art in Mozambique, particularly cinema, is truly independent of the former metropolis, he responded that he considers that "there are very few countries that are totally culturally independent".

For him, global relations and current financial relations "make a very big international crossover".

"Even Portugal, which has much better conditions than Mozambique, is also dependent from a cultural point of view, because it also receives support from other sides", he stressed.

In turn, the director highlighted that it is very difficult for an African country, with a level of poverty like his, "to be culturally independent".

"When I say culturally independent, it has to do with cultural production with national funds," he explained.

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