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Baholy Andriamoratsiresy : «Il devrait avoir des critiques de cinéma à Madagascar»

Le cinéma malagasy semble avoir un avenir promettant, vu que nombreux jeunes talentueux, clairvoyants et porteurs de projets commencent à émerger. Baholy Andriamoratsiry est parmi eux, l’initiatrice du «Festival Miaro» qui s’est déroulé à Toamasina au mois de février-mars

Comment vous vous êtes embarqués dans le cinéma?
En 2005, j’ai suivi des études de cinéma à Bordeaux où je suis restée pendant 3 ans pour avoir une licence en «Art du spectacle cinéma». J’ai effectué le master I, puis le master II en «Réalisation documentaire et valorisation des archives». Ensuite, je suis partie un an au Sénégal grâce à Africadoc où j’ai obtenu un autre master II en «Réalisation documentaire de création». Le documentaire de création consiste surtout à exposer un point de vue personnel sur un sujet. En 2011, je suis revenue à Madagascar où j’ai suivi une résidence d’écriture, toujours avec Africadoc. Une réalisation est née à partir de cette activité, intitulée «Une salle obscure», sélectionnée à la 9ème édition des Rencontres du film court.

Pourquoi avez-vous organisé un Festival autour du documentaire de création pour les jeunes?
J’ai pris le plaisir de s’initier dans le domaine de l’organisation d’événement culturel, en effectuant des stages à l’Alliance française de Toamasina. A partir de ce moment, une idée d’organiser un Festival m’est venue à la tête. Lorsque j’étais en 5ème année universitaire, on m’avait envoyé au Lycée Stendhal de Villeneuve pour encadrer des jeunes autour du cinéma. Cela faisait partie de ma formation et je trouve qu’initier les jeunes à l’art du cinéma est intéressant, dans la mesure où ils peuvent décrire leur vision à travers la discipline, tout en sachant raconter une histoire.

Pouvez-vous dire un peu plus sur le «Festival Miaro»?
Ce que je peux dire avant tout, c’est que les jeunes participants ont surtout été curieux. J’ai également remarqué que c’était facile pour eux de manipuler les matériels, vu l’évolution technologique. En fait, le problème a été ailleurs, entre autres les recherches des personnages, la coordination entre les personnages et l’idée du film. Concernant l’écriture, nous avons eu un peu de difficulté dans l’orientation de la réalisation car au début, cela devenait davantage une structure de reportage. Il a fallu donc les recadrer pour que cela puisse vraiment être un documentaire de création où les personnages dévoilent surtout leur point de vue. Lorsqu’on réalise un documentaire, il se peut que certain personnage lâche au dernier moment, comme le cas du Lycée Rabemanajara qui a perdu deux récits suite à ce problème de personnage.

Comment s’est présentée justement l’approche sociale des participants?
Puisque nous avons choisi le thème de l’enfance, il nous a fallu des autorisations parentales des participants et des personnages. Cela faisait partie de la pédagogie qui implique déjà une approche sociale. Nous les avons laissés administrer cette démarche. Dans la foulée, les jeunes ont même effectué l’approche aux personnages, leur expliquer de quoi il s’agit, et que ce n’est pas à but lucratif… Avec la contribution de l’Alliance française, nous avons transmis une notion de pédagogie à travers quelques exercices. Pour le côté de technique, c’était surtout de la pratique car nous avons primé la qualité d’image.

Qu’est-ce que vous projetez pour le Festival et pour vos éventuelles réalisations?
J’ai déjà fourni beaucoup d’efforts dans cette édition, je compte la poursuivre et la réaliser annuellement. Cependant, je reste sceptique à l’idée de développer dans d’autres structures ou domaines, ou de s’ouvrir à d’autres cibles. En fait, je veux développer mes propres visions du cinéma avec un certain militantisme et sensibilisation, car dans mes projets, j’essaie de montrer les «non-dits» dans la société malagasy, comme dans «Salle obscure» où il s’agit de raconter les réalités dans les salles de vidéo malagasy qui diffusent des films qui ne sont pas dédiés aux jeunes, mais qu’ils ont libre accès.

En tant que cinéaste, comment trouvez-vous le monde du cinéma malagasy actuel?
A mon humble avis, il devrait vraiment avoir des critiques de cinéma, que ce soit pour les productions de feuilletons, les longs métrages ou courts métrages. Les critiques incitent les producteurs à suivre les normes, et cela permet aussi d’améliorer la qualité, que ce soit en image, en écriture ou en narration. Je pense également qu’il y a beaucoup de pôles de cinéma qui ne sont pas en relation à Madagascar, elles sont hermétiques. Il devrait peut être y avoir une structure qui les unis pour améliorer le monde du cinéma malagasy.

Annick Sedson

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