PACO/OPAC: The Observatory that is Redefining African Cinema

The african film industry is undergoing a transformation, and visionary figures like mrs. souad houssein play a key role in this evolution.

(Interview from JTC Mali: https://www.jct-mali.com)

On Thursday, November 21, 2024, we had the immense honor of speaking with Mrs. Souad Houssein, a woman whose vision and achievements are redefining the landscape of African cinema.

Journal of Cinema and Television: Can you tell us about the Pan-African Audiovisual and Cinema Observatory (OPAC)?

Souad Houssein: An observatory, as its name suggests, is a tool that allows us to observe and analyze a given phenomenon to measure its various aspects. This can pertain to different fields such as the economy, culture, energy, society, or the environment.

In our case, OPAC addresses this need within the cinema and audiovisual sector, with a key focus on the entire African continent.

In concrete terms, it is a collaborative digital platform that gathers and updates relevant data on the cultural industries of African countries. This tool allows for real-time tracking of trends in film and audiovisual production, distribution, and exhibition while assessing their economic, cultural, and social impact at national, regional, and continental levels.

JCT: What is the main goal of your platform?

SH: Our observatory is based on a general-interest approach, with the mission of collecting, analyzing, and disseminating reliable data on the film and audiovisual markets across all African countries.

By providing qualitative and quantitative data, OPAC aims to support policymakers, investors, researchers, international organizations, media outlets, sector professionals, as well as consultants and legal experts, enabling them to better understand the situation and strategic opportunities within this industry.

JCT: Is OPAC intended for all African countries or only for Francophone countries?

SH: As its name suggests, OPAC covers the entire African continent. It is aimed at Francophone, Anglophone, Arabophone, and Lusophone countries alike. Our vision is inclusive and Pan-African.

JCT: How is OPAC structured to be useful for the continent?

SH: OPAC, which is headquartered in the Republic of Djibouti, relies on a smooth and efficient governance structure designed to minimize operational costs.

With a supervisory committee that ensures transparency and activity oversight, OPAC leverages local skills and expertise across the continent, fostering a collaborative and sustainable model through its lightweight digital structure.

JCT: What concrete benefits will OPAC bring to the African film industry?

SH: The Pan-African Audiovisual and Cinema Observatory aims to promote and strengthen the African film and audiovisual industry. By providing a global vision and facilitating South-South collaboration, it will encourage knowledge-sharing and help build a promising future for the sector.

Moreover, OPAC will help reduce the gaps between major film-producing nations and those less active in the industry. By making precise information on the economic and social impact of cinema more accessible, OPAC will encourage states to develop favorable public policies and attract investors, whether public or private, local or international.

JCT: Can you share some of the achievements of the Observatory so far?

SH: Based in Djibouti, where it benefits from a strong African foothold, OPAC is completing its development phase. We are proceeding with caution and determination. Very soon, I hope, you will hear about our concrete activities and achievements.

JCT: Do you believe in the future of the film industry in Africa?

SH: Absolutely. Even during the most challenging times that African cinemas have faced, I have always believed in Africa’s ability to reinvent itself, to produce and circulate inspiring and original films that shine on national, regional, and international scales.

Content, our raw material, is far from lacking. Africa has an invaluable reservoir of stories, narratives, and individual journeys that deserve to be shared. While technical skills can be acquired, the richness of our imagination remains an underutilized asset that only asks to be expressed with strength, creativity, and professionalism, all while remaining in harmony with our cultures and values.

Originating from Djibouti, Mrs. Souad Houssein continues to propose projects and ideas aimed at structuring, pooling, and empowering the film industries of African countries. Her latest project, the Pan-African Audiovisual and Cinema Observatory (OPAC), once again illustrates her desire to contribute to the continent's cultural development.

Natiengueba DIARRA

Journal of Cinema and Television