The two young filmmakers behind Beti and Amare were present to introduce and discuss this festival screening at the ICA. Andy Siege performs most of the technical roles and appears himself in a small but crucial role in the film. Pascal Dawson plays ‘Amare’ and generally supports his working partner. Together the two are Kalulu Entertainment and this, their first fiction feature, is a ‘speculative fiction’ set in Ethiopia in 1936.
Andy Siege was born in Kenya to German aid workers and grew up in Africa and Europe, studying film in Canada. In the Q&A he identified as ‘African’. Pascal Dawson was born in Vancouver. The others in the small cast are Ethiopians, both experienced actors and non-professionals. The production budget was just €14,000. This isn’t noticeable in terms of the film overall except possibly with the archive footage of the Italian invasion of Abyssinia (as Ethiopia was known then) in 1936 – which the credits suggest came from the Internet Archive. The film does switch between monochrome and colour and I couldn’t work out why (I did miss part of the introduction, perhaps it was explained then) – but I didn’t find this a problem.
The story is simple. A young woman, ‘Beti’ returns to her home region in Southern Abyssinia hoping to avoid the Italians. She stays with her grandfather in an isolated hut. He then sets off to buy a new goat, leaving the young woman in charge. She discovers that she faces a double challenge. A group of local men on horseback want to ‘protect her’ (and one wants to marry her) and she also fears that the Italians will appear. Then one day at the waterhole she discovers a strange young man, ‘Amare’. Where has he come from? Is he ill? Did he emerge naked from an egg? Is he real or a figment of her imagination? She decides to look after him. When trouble appears there are now two of them to face it together.
This is an imaginative use of familiar genre elements in an African context. African filmmakers struggle with lack of resources and audiences who have been mainly entertained by the crudest forms of Western, Indian and Hong Kong popular cinema. Could a film like this succeed in attracting audiences in Africa? I don’t know, but it does show how a quality production can be achieved on limited resources by filmmakers who have Africa in their hearts and the knowledge and contacts to exploit new technologies efficiently. So far the film has had mainly festival screenings. It will be interesting to see if it gets a wider distribution and if Kalulu can make more films in the same manner. I certainly enjoyed the film and I hope Kalulu succeed in their ambitions.
The official trailer: