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Ten years ago, Ramata-Toulaye Sy set out to write her graduation script for her screenwriting degree. Her goal was to tell the most captivating and grandiose love story in Africa. At 37 years old, the French Senegalese filmmaker explains with a smile, “Growing up, so many African tales revolved around suffering, poverty, and war. I wanted to show that we can also have African tales about love and romance.”
Her smile grows wider as she stops to say, “Above all, my goal was to tell the tale of Juliet’s transformation into Lady Macbeth.” This perfectly captures the essence of her newly directed film, which is based on the script Banel and Adama. A rebellious romantic story with feminist themes, set in Senegal, it was the sole debut film to compete in Cannes’ main competition last year, putting her up against seasoned directors such as Wes Anderson, Todd Haynes, and Ken Loach for the top prize at the festival.
At the recent event, Sy appeared confident and stunning in her Chanel outfit on the red carpet. However, there was a different reality beneath the surface. According to her, she was not truly happy and was feeling extremely stressed. She was caught off guard when she found out that her film was in competition, and the pressure hit her while on the red carpet. It was a challenging experience for her afterwards.
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“Banel and Adama” is a story of magical realism that takes place in the rural area of Senegal. It follows the relationship between 18-year-old Banel (played by Khady Mane) and her husband Adama (played by Mamadou Diallo). Their love for each other is intense and they can often be found inseparable, causing disapproval from others in their village. Banel is a strong-willed individual who feels trapped by the traditional village life and constant pressure to conceive and conform to feminine norms. Her character also reveals a darker side, as seen in a scene where she kills a bird with a catapult.
Sy is praised for creating Banel, a complex and flawed character. I mention the daring choice to write a woman who may not be well-liked and she confirms, acknowledging the intentional aim. She explains, observing that while there are plenty of unlikable white female characters in literature and media, it’s rare to see the same portrayal of a black female character, such as Medea, Phaedra, Gone Girl, or Killing Eve.
It was seen as a political statement to portray a black female character as vulnerable, disadvantaged, and suffering, particularly in the context of Africa. This allowed for the creation of an unlikeable character to challenge the stereotype and showcase that African women are capable of being multi-layered and intricate.
Others have described Banel as insane, egotistical, and cruel. However, according to Sy, the situation is more intricate. “Her behavior is a result of societal oppression and its impact on her, her life, and her femininity.” Sy clarifies that this does not justify Banel’s most unacceptable actions. “But the message of my film is to embrace the woman you desire to be. It is not an issue if you do not want children or if you prefer not to wear skirts.”
There was never the intention for her to oversee the movie. While she was growing up in Paris, her aspirations were to become a novelist and then a screenwriter.
When she was younger, she didn’t go to the movie theater often. She only went a few times a year with her school. However, at home, she would watch all the popular movies with her siblings, such as Terminator, Indiana Jones, and Back to the Future. Even now, she enjoys watching action-packed movies like Marvels and Fast and Furious, with a big tub of popcorn by her side.
Both of Sy’s parents are from Senegal. Her father, who worked in a factory, motivated her to trust her gut. He told her, “You can pursue whatever you want. It doesn’t matter what it is. You just have to be the best at it.” This put a lot of pressure on her.
She is currently using Zoom to communicate from her home in Paris. She completed her studies at the renowned La Fémis film school in 2015 and then relocated to Dakar for a few years when she felt uncertain about her path. “I needed to rediscover myself and gain a deeper understanding of my heritage.”
She embarked on her professional journey by collaborating on the creation of two movies, namely Sibel (2018) and Our Lady of the Nile (2019), while also working as a script doctor. After the producer who purchased her script for Banel & Adama was unable to secure a director, he proposed that she take on the project herself.
Creating the movie was quite a challenge. It is situated in the Fouta region, where her parents were raised, and it takes eight hours by car to reach Dakar from there. It took five months to find and select non-professional actors for the roles. Khady Mane, who portrays Banel, was discovered just one month before production while walking on the street. “Our gazes met and she immediately captured my interest.” The majority of the crew were Senegalese, making up 85% of the team.
The filming process was tough, with temperatures reaching 50 degrees Celsius and no access to electricity in a small village. Sy lost 10kg during the shoot and only managed a few hours of sleep each night. However, directing the film felt like the right fit. Despite its challenges, it felt like a natural fit.
During interviews, Sy has revealed that she sees a lot of her own experiences reflected in the character of Banel. She explains that she was a rebellious individual during her formative years, as she was raised in a traditional African culture that placed emphasis on early marriage, having children, and owning a home. Despite societal expectations, Sy, who is now 37 years old, does not conform to this traditional path. She is not married, does not have children, and feels unsettled. From a young age, Sy has always sought to break away from societal norms and simply embrace her own unique identity.
Did she behave like a typical teenager, often staying out late and enjoying parties? The thought makes her chuckle. “Oh no, not at all. I was a studious girl. I didn’t have many boyfriends. It’s probably a deeper desire than that. I longed to be rebellious in my life. I wanted to emulate figures like Maya Angelou and Toni Morrison. I aspired to be a woman like them.”
Banel and Adama is released in the UK on 15 March
Source: theguardian.com
