As I delve deeper into the captivating world of filmmaking and storytelling, I find myself constantly in awe of the powerful voices that use these mediums to shed light on the darkest corners of our global society. One such voice belongs to the visionary director Ludo Abicht, whose latest masterpiece, “The Congo Tapes,” is not just a film, but a two-and-a-half-hour rollercoaster ride through history, music, and thriller genres.
In Johan Grimonprez‘s documentary, “Soundtrack to a Coup d’Etat,” Africa, colonialism, the United Nations, the 1961 murder of Patrice Lumumba – the first prime minister of the Democratic Republic of the Congo, Nikita Khrushchev, Tesla technology, iPhones, and jazz music intertwine. The film resembles a musical piece with scholarly annotations or avant-garde theater. It delves into Belgium’s colonial past and its role in hindering Congolese independence.
The film, initially unveiled at the Sundance Film Festival where it received the World Cinema Documentary Special Jury Award for Innovative Cinematography, was praised by The Hollywood Reporter as both “gripping” and “energetic.” They highlighted that the dynamic documentary skillfully links jazz music, decolonization, and the establishment of the United Nations.
As a gamer, I’m thrilled to share that Kino Lorber is joining forces with the expert streamer Kanopy for the U.S. debut of this movie, which will grace our cinema screens on November 1st. Later in November, the filmmaker will receive recognition at the International Documentary Film Festival Amsterdam (IDFA), a prestigious event in the film world.
During the final days of the San Sebastian Film Festival where his newest movie is being shown, Grimonprez shared insights with THR about the creation of his film “Soundtrack to a Coup d’Etat,” its examination of troubling colonial past, employing music as a central character, the frequent appearance of Khrushchev in his works, and the necessity for humankind to transition from a mindset centered on profit to one emphasizing kinship.
Being born and raised in Austria, I have some understanding of the United Nations’ history since one of its main offices is located in Vienna. However, what I found particularly intriguing was the history of the Congo and Belgium’s influence there as a colonizing power. How much did your education cover this topic?
The Congo has been historically known as “the Empire of Silence.” Consequently, it wasn’t widely discussed, including the events depicted in the movie, which is a dark chapter in our Belgian history that we were never taught about. Even now, there’s a Lumumba Square here in Brussels, and many of our avenues were constructed using rubber money, necessitating a name change. Sadly, we were not educated about this tragic event, nor about the involvement and complicity of my country in Congo’s murder.
“So, what made you decide to create this movie? And I’m wondering if my assumption is correct that you don’t view this film as just a Belgian tale, but rather as a story with global resonance, much like your previous work Shadow World, which delved into the intricate world of international arms trading?”
Belgium is a relatively compact nation. It’s important to note that NATO, while it operates independently, can be likened to Lockheed Martin, a major U.S. aerospace and defense corporation, due to their similar roles in the alliance. They supply F-35 fighters to all member nations of NATO. However, Belgium was less involved in what I refer to as “The Shadow World,” leading me to delve deeper into my country’s history. In the early 1960s, Belgium played a significant role in shaping global events as Africa was moving towards independence and the Global South was leaning towards non-alignment. The suppression of this movement had its genesis in what transpired in the Congo, specifically the overthrow and tragic assassination of Patrice Lumumba, which served as a model for how the West would handle emerging independence and non-aligned movements.
Before the United Nations General Assembly took place, there were numerous connections, and I wasn’t aware that it was during this time when Nikita Khrushchev infamously banged his shoe on the table as a UN delegate. Khrushchev has been a significant figure in my previous works, such as the film Double Take, where he played a role similar to Alfred Hitchcock’s double. I didn’t realize that this connection was due to Belgium’s colonial past.
Essentially, all these aspects are intricately connected. He extended invitations to global leaders for a discussion on decolonization and demilitarization, yet it’s captivating to listen to him. As Hitchcock suggested, the more you humanize your antagonist by making them intriguing, attractive, and unique, the greater the challenge for the protagonist. Consequently, I believe that delving into the perspective of the villain is always more compelling.
The music plays such an integral role within this film. Could you share some insights on how the concept of blending jazz with the broader narrative of global events was developed?
Indeed, music can serve as a powerful historical influencer. Delving into research and archives, I discovered that Louis Armstrong made two trips to the Congo – specifically during the third weeks of October and November 1960. These were significant moments, marking the time when Patrice Lumumba was forced into exile within his own country and home.
On September 14, Army Colonel Mobutu dismisses the entire parliament, and a week later, there’s talk about banging shoes (a symbol of disapproval in some cultures). Not long after this, Louis Armstrong arrives in the Congo as part of a program by the United States Information Agency. This initiative sent many Black jazz musicians abroad, including Dizzy Gillespie and Nina Simone. By following the story of these jazz tours, it becomes clear that there was a CIA plot to overthrow the government when Louis Armstrong arrived in the Congo. Similarly, when Duke Ellington performed in Baghdad in 1963 (this isn’t shown in the movie, but on the same night as his concert), there was a palace coup. So, I was exploring the political backdrop of these jazz ambassadors who were often sent to troubled regions, as one tour organizer described the Dizzy Gillespie tour: “We were the Black kamikaze band.
Not everyone seemed to be happy about this all the time, right? But I liked that comparison…
It’s not suggesting they were merely bystanders or followers, correct? For instance, Louis Armstrong chose not to perform for an audience during the Apartheid in South Africa. In his song “Black & Blue,” he originally sang, “I’m white inside.” However, he altered it to “I am right inside,” which might seem small but carries a significant shift in meaning. Thus, they were employed as propaganda tools, but this doesn’t mean they were completely powerless or passive.
In a different part of the world, there’s a great deal of activity. They traveled across various countries, and I discovered in Belgian archives an exceptional concert by the Max Roach Quartet featuring Abbey Lincoln in a powerful performance. That album, titled “We Insist!“, was broadcast in its entirety on Belgian television in 1964. However, that same year marks a tragic event – the genocide. Therefore, we have this delightful concert airing on Belgian television, captivating audiences as they tuned in to enjoy jazz music, while simultaneously, in hushed tones, the genocide was unfolding in Congo.
Abbey Lincoln, accompanied by Maya Angelou, were among the first to rise in protest when Adlai Stevenson, serving as the U.S. ambassador at the time, declared that Patrice Lumumba had been assassinated. In response, Lincoln and approximately 60 other protesters vocalized their discontent within the Security Council. Remarkably, it was musicians who ignited this protest, which underscores for me the significant role music played in these events. Therefore, I view music as a key player in the narrative.
Have you ever seen music used in a film in a similar way?
At IDFA, I’m the featured guest and will be showcasing my personal list of 100 favorite films, contrary to the initial announcement of a top 10 selection. There’s even a film by Jean-Luc Godard, titled “Sympathy for the Devil,” in which he filmed inside a studio with The Rolling Stones as they created their song. Throughout the movie, Godard intersperses these music sessions with political imagery from that period, making it quite intriguing.
I thought the music was really crucial. You write in the editing and in the research [process]. You stumble onto moments that you cannot not include in the film, like the [Abbey Lincoln] scream. Also, the civil rights movement was also very much taking its inspiration from the independence movement. And this went back and forth, of course. Malcolm X makes that relationship very clear.
Just as it holds true for music, the rumba originated from the transatlantic journey of slaves to Cuba. This dance has roots deeply embedded in Congolese culture, which eventually evolved into the conga and then the cha-cha-cha, before making its way back. It’s a continuous exchange. I found this intriguing to delve into. So, much like an elephant that regularly checks its surroundings by stretching its ears every hour, if you pay close attention to historical records and archives, you can’t ignore this influence. It was something we felt compelled to address.
Your film runs for 150 minutes. It doesn’t feel like it, but did you ever think about the length?
People often remark, “I can’t believe it was two and a half hours! It felt like it flew by.” This is especially true with music involved. Music has a way of speeding things up and making you feel deeply connected. It adds an emotional layer to the movie. Unlike politics which seeks to divide and conquer, music unites. I believe it also brings the audience together during the film viewing experience. The music not only serves as a historical backdrop but also infuses drama into the film’s narrative, making the historical events more impactful.
Essentially, it’s an approximately two-and-a-half-hour cinematic journey that doubles as a history lesson, unfolding through a true tale. Unlike a typical movie, this one comes with a scholarly twist—you get the academic notes and a plethora of references right at your fingertips, within the film itself, in a PDF format. It’s a captivating blend of various music genres colliding, offering an immersive and enlightening experience. As a fan, I can’t wait to dive in!
As a gamer, I yearned to craft an edge-of-the-seat thriller with a touch of humor to begin. The comedy serves as a hook, gradually giving way to the heart-pounding thrill, with the music intensifying the tension right up to the chilling climax where you can’t help but gasp. However, it was crucial that the thriller aspect be the core of this story. I aimed to clearly define the characters driving this narrative. They include the mining industry, influential Western powers, the United Nations, the geopolitical divide between East and West, the independence movement, and musicians. Essentially, I wanted to unearth the tale that would drive the movie and keep it compelling, always staying true to the thriller genre.
Do you think that much has changed in the world since 1960 and 1961 which the film focuses on?
Essentially, events initiated back then are strikingly similar to those happening now, which is why commercials for Apple’s iPhone and Tesla can be found in the movie, along with other references. For instance, the depiction of over 80,000 women being raped symbolizes the use of rape as a tactic in warfare, a tragic reality that persists today, if not worsening. The control of the mining industry remains unchanged, and the key players remain the same.
If you see Dennis Mukwege’s [2018] Nobel Peace Prize acceptance speech, I get tears in my eyes when he says what’s still going on. If you put a map of the East Congo, a map of where the mining is and the statistics of how many women are raped, it’s one on one a complete correlation. So we wanted to allude to that at the very end of the film where [Belgian-Congolese writer] In Koli Jean Bofane says the minerals of all wars in the 20th century and the war in space all come from the Congo, but not even one Congolese is benefiting from it, except for the kleptocracy running the country. And it’s genocide after genocide after genocide.
What will your next film focus on?
Approximately every six to seven years, I find myself working on a new film. The most recent one focused on the defense industry, while this current project delves into our homeland and a dark chapter in my country’s history. However, the movie I am eager to delve into next is one I refer to as “Tea With E.T.” It could be described as a multispecies council. This film will explore the enigmatic other or the process of ‘othering’, and our relationship with the world. Essentially, it’s about attempting to understand consciousness.
Additionally, I not only educate and speak, but my films frequently emerge from these experiences. What I believe is crucial yet remains undefined today is the understanding of consciousness, and how our current materialistic view of the world is no longer sufficient. The concept of matter has never truly been defined, and we are all interconnected. This perspective has created a division between subject and object, making us feel disconnected from one another and nature. We call it nature because we can exploit it, but if you contaminate a river, you’re polluting yourself. This raises a broader question: What is consciousness? It serves as a starting point, but I’m unsure of where this exploration will lead.
Anything else you’d like to share?
The vital area I’m focusing on exploring is shifting perspectives from a profit-centric mindset towards one emphasizing connections and kinship. This has become my primary focus and consumes much of my time.
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2024-09-27 01:55