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Editorials

Paul Néaoutyine
Président de la Province Nord

Those who trumpet the merits of the free market would have us believe that globalisation is the only path to prosperity. That we have no choice and that the economy, services and culture should bend to market rules and that we should kneel before the new all-powerful God of merchandise. Images have become a marketable product and a formidable weapon. We are submerged in images from morning until night, more and more of them, moving quicker and quicker. To go fast, you have to be brief, to be brief, you have to be simple. But can our world and its peoples’ realities be packaged into simplistic television approaches formatted for maximum audience ratings ? Documentaries are clearly a lifeline in the general stifling of critical thought by the totalitarian market. Where sensationalist society organises a simplified mock portrayal of reality, the documentary approach is an attempt to grasp and question a complex world. The documentary appraises reality more than reflecting it. Therein lies the philosophy of the ânûû-rû âboro festival, which in its fourth year continues to believe in alternative unalienated documentaries, articulating the true message of the world’s peoples outside the prism of dominant thinking which – as we all know- is that of the dominant class.

Jean-François Corral
Délégué général du festival ânûû-rû âboro

Could the documentary film approach have the modesty that television stories usually lack : not claiming to relate reality but only pointing us in the right direction ; commenting on it but leaving the spectator to freely and critically appraised it, not reducing it to the lowest common denominator decreed by audience ratings but preferring to generate complexity. To approach the truth means having to leave something inaccessible, an area of shadow, a questioning, an appeal to the intelligence of the onlooker, who to us is more than just a passive image consumer. Ânûû-rû âboro, in the Paicî language, means a man’s shadow, in other words the film medium. A tribute is due to the Kanak elders who so poetically and so intelligently defined film, with its indefinite dimension.

Samuel Goromido,
President of the “ânûû-rû âboro” association, Senator in the Customary Senate

Our Country imports and consumes more images than it produces and exports. Local television and cinema programming do not reflect the true nature of the Kanak People or the Country’s other citizens. Being independent means building your own images and your own history. For the past four years, the ânûû-rû âboro association has organised training sessions designed to enable our own young people to learn how to handle a camera and how to take a professional approach to their work as operators or directors. There is still a long way to go, but this year, for the first time, the ânûû-rû âboro festival is screening ten films made by young people from our country, mostly Kanaks. This is the first step towards decolonised documentaries, in both content and form.

Té Wâru ötepwë nâ tèpa dö mê dari jèè nânî nâpô kâjè wâni kanaky, jii cè ötepwë cè nâ jèè nâpê wii göröpuu, cè ötepwë cè nâ wîâ cè mâpéa go jè. I tèèpa wôrâ ânûû-rû âboro (télévision......, ê diri pwibè) ânâ cê rèè ca paari cè ötepwé cè nâ é töpwö cè âju pârâ go paî wâro kârâ tèpa âboro wâni jaa jè. Ânâ wiènâ jèè cimâ mâ jèè nyiê cipa cè tuwâ go jèè, â wâdé nâ jèè nyiê töemîrî mwârâ cè ânûû jèè, cè ânûû-rû âboro go jè, cè ânûû-rû âboro ba kâjè, ba o paari cè pi cèikî kajè. Â jèè êrêpèpé nâja nâ go ê câmû nâ pi cö èpo ilèri, mâ âboro èpo mâ rèè tâmôgöri, cè paï pwa wè cè ötepwë mâ cè ânûû-rû âboro go jè. O ba podaü pwa gööbërë pwi wakè bèèpwiri â co nâ wiènâ mâînâ cèiki go, â o wâdé nâ go jè. Â nâja bèènî 2010 ânâ o êrêilu i jè, cè jèûrû ötepwë cè nâ o paari nâ go i festival, ötepwë mûrû pwa kârâ èpo ilèri mâ âboro èpo kajè gé nî kalédonie, â rèè o wîâ cè jèkutâ go jè cè nâ rèè mwâ nîâri mâ côô, mâ têrê baa goro âboro nâ wâro nî görôpuu Nâbwé.