The Planters Plantation

The Planters Plantation is my debut feature film as a director, benefiting from the collaborative efforts of a team of young filmmakers all under 30 at the time of shooting, and all first timers.

It was inspired by the true story of the labourers in Colonial British Cameroonian plantations and my love for historical dramas like Ama Asante`s "A united Kingdom" and Biyi Bandele`s "Half of A Yellow Sun", which are genres I am particularly interested in.

My story is about life in a place called Isambile that represents many African nations before and after independence, battling for sovereignty and facing the many difficulties that came with independence (civil wars, border crises), issues that still affect many African countries to date. The story is presented through the lives of the people of a plantation settlement called Isambile after their nation gains independence. The film deals with the controversial topics of race, colonialism, neocolonialism, and the part African leaders play in the perpetuation of neocolonialism.

The film sparks and sustains a healthy conversation on my personal belief that THE WHITE NEVER REALLY LEFT AFRICA, as can be attested in the influence the west still has on many African countries through currencies, loans, foreign policies and colonial taxes.

In this film, I present the issues, through a series of events allegorically happening in a plantation in Isambile, with performances from African film veterans like Nkem Owoh, who represents the African elite who, at the time of independence, would do anything against their own for their personal gain. Tosangeng, played by A-list cameroonian actress Stephanie Tum, represents the seed of the colonial master left behind to further form a pathway for neocolonialism to exist (the buildings, currencies, business chains, the westernized elite, those monetary structures that give way for colonial taxes). The emblematic Enanga, played by new act Nimo Loveline, represents the oppressed African voices, who were promised thr good things of life at independence, but saw none, and so they led revolution to change the status quo (Nkwame Nkrumah, Felix Moumie, Thomas Sankara, Nelson Mandela, Patrice Lumumba).

The film itself is a rather intimate production, with a dark meaning behind it. Although Africa is a shining light and cheerful l, there always seems to be a sinister presence behind the smiling faces. I want the audience to think deep while watching, consoling themselves with the music that lives in the people of Isambile, while still digging deep to understand the events in the film and what they mean to Africa, as a continent, for the future.

The theme of liberation runs through the film, well accompanied by music which makes The Planters Planation a musical. Why so? Because the story of African liberation, revolt cannot be completed without the role of group singing during protests, celebrations, mourning, etc.

Planters, as I fondly call it, is a deeply emotional story that will take you through a roller coaster of feelings, but told with simply shots so as not to further complicate the audience's understanding of an already very complex approach to representing the hidden message in the film. Simply shots, longer takes, simple production design, but with intense dramatic performances from the characters to keep the audience locked to the story.

It is out of the norm of simple drama because of the outcome of events concerning the protagonist and antagonist. The film was shot in a crisis-stricken part of Anglophone Cameroon (former British Southern Cameroons), which has for the past four years been experiencing an armed struggle between a separatist movement and the central government. The fact that the root causes of the conflict can be found in colonialism, and taking into consideration the difficulties we faced gaining access to the locations found in this zone, was further experience for all cast and crew who were not just making a film, but fighting for their voices to be heard through film.

The joint effort of Cameroonian, Nigerian, Gambian, Ghanain technicians (editors, colorist, sound design) and actors, a combination of some African rhythms and nostalgic liberation songs popular in some parts of Africa, all stress the true Pan African nature of the film, which I believe will have universal appeal.

In conclusion, I want Planters to spark a new conversation about colonialism, independence and neocolonialism. Join us in the conversation once you have watched, and kindly share your thoughts.