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L'Hypothèse du Mokélé-Mbembé
© Capricci Films
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Au Sud-Est du Cameroun, un homme arpente la jungle et les berges boueuses des rivières depuis plusieurs années à la recherche d’un animal inconnu de la zoologie : le Mokélé-Mbembé. Les pygmées que l’explorateur rencontre au cours de ses expéditions décrivent cet animal comme une sorte de rhinocéros à queue de crocodile et à tête de serpent. Certains affirment l’avoir déjà rencontré près de la rivière. Animal mythologique ou animal réel ? L’explorateur est depuis longtemps convaincu de l’existence de cette bête. Il nous entraîne dans une quête acharnée pour trouver des traces de l’animal ou des témoignages de son existence dans un univers où le vraisemblable se mêle au légendaire, nous ramenant aux sources de la croyance et de la fiction.

"With Hinterland (FID 2009), shot in East Germany, Marie Voignier introduced us to spaces with multiple strata in which layers of History, issues of the present and the imaginary cannot be distinguished. The Hypothesis of the Mokélé-Mbembé ploughs a similar furrow to carry us far from Europe this time towards other territories, to south-eastern Cameroon, and towards other areas of History.
There, for several years, the explorer Michel Ballot has meticulously mapped out the jungle and the muddy riverbanks in search of a mysterious animal hitherto unknown to zoologists: the “Mokélé-Mbembé”, a prehistoric hybrid of rhinoceros, crocodile, snake and dinosaur. Is it a real animal or a mythological beast?
Ballot investigates continuously, questioning the Pygmies, contriving to install a camera to film the river and its eddies during his absence, seeking traces, trying to find clues, pondering out loud. But what credence can be given to the numerous testimonies gathered and what might be indicated by simple sketches that myriads of hands are willing to draw for him? From this obsessive quest the contours of a ghostly Africa are drawn in negative, more imaginary than real, an object of fantasy, a mental space made of silence, stamped with a colonial vision, discrete but insistent.
Suddenly, prehistory is no longer so ancient but is recent history that a solitary passion attempts to track, and that the Pygmies play at holding a mirror up to each other in which their reflection is merely the vacillating figure of the desire of the Other."
(Nicolas Feodoroff, FID Marseille 2011)

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  • Le 7 Novembre 2012
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