Showcasing short films at Remai Modern introduces audiences to new stories and visions that they might not always have the opportunity to see. Short films deliver ideas and concepts in their own way but unfortunately they are often under-appreciated or don’t get seen. As the Digital/Media Program Assistant at Remai Modern, I facilitate the museum’s film program and try to screen as many local short films as I can so these filmmakers have a space to exhibit their work for their own community. We’re excited to screen Saskatoon-based filmmaker Miley Afolabi’s engrossing short film Le Passé a toujours été ici (The Past Has Always Been Here) on Friday, February 23 prior to the feature presentation of Cheryl Dunye’s The Watermelon Woman.
Born and raised in Lagos, Nigeria, Afolabi is a dynamic filmmaker on a mission to illuminate the rich tapestry of African stories through creativity and precision. With an innate passion for storytelling, the young indie filmmaker crafts cinematic experiences that captivate with depth and authenticity. Driven by a desire to challenge stereotypes and showcase the multifaceted nature of the African experiences, Afolabi aims to inspire a new generation of storytellers and ignite a cultural renaissance that celebrates the untold stories of Africa.
I had a chance to speak with Afolabi about their work, influences, and what storytelling with film means to them.
Thank you so much for making the time to chat with me. Could you introduce yourself and let everyone know more about your filmmaking practice?
My name is Miley Afolabi. I’m a Nigerian native filmmaker and painter, and my work deeply centres around African art and nostalgia. In my practice, I am able to explore with the art of languages, architecture, gender, culture and colour.
What are some influences or references that have made an impact on your work?
Being born and raised in Nigeria has definitely made an impact on my work, especially my tribe and culture which is the Yoruba culture from western Nigeria. However, the impact on my work is more than my environment. I am able to create more than I can feel, see or understand. I like to call my niche the blueprint. I really haven’t seen anything like it… yet. I might say this because I haven’t seen a lot of films; I don’t watch many films myself which is a little strange as a filmmaker. I feel very connected to the world, which is why I’m able to create or collect from different aspects in life. Although there are a couple films I wish I directed or worked on. Mother of George by Andrew Dosunmu, The Kings of the World by Laura Mora, Ayinla by Tunde Kelani. Very captivating movies. These movies contain unforgettable character, the use of foreign language, family, magical realism, and conventional and reflective narratives which are all what my work and practice entails, so I think it’s safe to say that the reference and impact on my work is life.
What path led you to develop Le Passé a toujours été ici (The Past Has Always Been Here)? What was your experience collaborating with your crew and filming on location in Nigeria?
This might sound very cliché, but I think or I “strongly” believe that I’m a product of reincarnation. I do believe that I have lived a life on Earth before now. The Yoruba culture of southwestern Nigeria believes that humans reincarnate in order to re-choose their destiny and fulfill the life ambitions that they had no chance to achieve in a previous incarnation. Being a believer that I’m a part of reincarnation, my work is linked to experiences from the past in one way or another. My experience working with my cast and crew was totally amazing; I would say it was God’s plan. Filmmaking in Lagos, especially as a female person, often comes with its own challenges, but my team made sure production was firm and unforgettable. We finished shooting the movie about a week before my flight to Toronto from Lagos, so there was a bit of a rush, but I was blessed to have worked with very amazing people with purpose and great passion. I wouldn’t have been able to do this without my cast and crew.
I’m grateful to have seen this wonderful film already, so perhaps I have my own interpretation on what the title of the film represents. For those who haven’t yet seen it, could you let us know how its title relates to the larger themes and ideas that you are exploring in the film?
Le Passé a toujours été ici (The Past Has Always Been Here) is my representation of the past in visual motion. It’s like a ticket to experience a time machine for 15 minutes. Why I say this is, Le Passé a toujours été ici was not scripted. Looking back now, it is a very natural film that was meant to happen. My conversation or direction with my cast while working together was that they get to say whatever comes to their mind as their spirits led, just like a regular day. Being able to play with time, with our costumes, makeup, hair, old architecture, furniture, belongings, art, women, and music from the early 1900s was what Le Passé a toujours été ici (The Past Has Always Been Here) was all about.
Why is it important to yourself to tell stories with film?
I think film is life, film is so beautiful, I think film stays in this life and I think film is freedom. Through films we witness stories that resonate with our own experiences, and as an artist, I’m able to put my thoughts into films without holding back.
February’s Cinema at the Museum screenings are presented in honour of Black History Month, with selections from Black filmmakers that speak to inequality, activism, capitalism, identity, power, gender, discrimination, and love.
Did you know that Remai Modern members get free entry to more than 100 film screenings every year? Learn more about membership and gain access to a world of art for an entire year.