BCEAO releases $ 6 billion for West African economies

The BCEAO has just made a liquidity injection of 3350 billion FCFA ($ 6 billion) at a fixed rate of 2% in favor of several banks of the UMOA. A total of 87 financial institutions participated in the operation. The Central Bank of West African States (BCEAO) made a further injection of liquidity to its member countries last week. In total, 3350 billion FCFA ($ 6 billion) were disbursed by the institution.

During the auction on September 14, 87 banks in the sub-region obtained an injection of liquidity at a fixed rate of 2%. With more than 1000 billion FCFA ($ 1.8 billion), it is the Ivory Coast which obtained the most important financing, ie 31% of the funds injected.

It is followed by Senegal with more than 580 billion FCFA ($ 1 billion), Mali with 466 billion FCFA (835 million $), Benin with 434.5 billion FCFA (777 million $) and Burkina Faso with 318 billion FCFA. ($ 569 million). Niger with 241.6 billion FCFA ($ 432 million), Togo with 219 billion FCFA (…

Documenting the world

For their twenty-ninth edition, The Estates General of Documentary, in Lussas in the Ardèche, invited their spectators to watch the world, its turmoil, its undertows, its dazzling. A look back at three films that will soon be visible in cinema or on television.

When the film begins, two girls are filmed seated in the back of a car. The driver addresses them. We understand from the discussion that this is their educator, because the man reasons the sisters, and wants them to admit the relevance of their placement, for one in a home, for the other in a foster family . In this sequence, only one of the girls is named: Sabrina. The other, the one whose name will come later, is the title and heart of Marie Dumora’s film.

Cinema Making

For this documentary, the French director found Belinda over several years. Nine, fifteen, twenty-three years old: across these three ages the portrait of a determined and lonely young woman emerges. Between the temporal ellipses there is also a chaotic childhood, made of resourcefulness, where social misery is never very far and where absences succeed one another: absence of the two parents when Belinda and Sabrina are placed, absence of the father (in prison ) when fifteen-year-old Belinda lives with her mother, repeated absences of Thierry (also in prison), her companion, when Belinda is twenty-three years old.

A film touching by her sensitivity, Belinda delicately draws the portrait of a young woman who seems doomed to live and fend for herself. In doing so, Belinda also recounts the implacable social determinism: in this Yeniche family - the yeniches are distant cousins ​​of the Roma - settled in Alsace, the alternation between a trade and dishonest activities is the norm. Just like the presence of social services - this omnipresence which has to do, perhaps, with the total oblivion of the camera by all the protagonists of the film.

Notwithstanding the typography of the title of the film ("Belinda" written with hearts), and the final sequence (with Tombe la neige by Salvatore Adamo) which anecdotize and bring a glance of overhang on Belinda and his close relations, Marie Dumora realizes a documentary eminently touching and respectful of its characters.

Since the bursting of the housing bubble in 2008 in Spain, a whole system has been in crisis: abandonment of staggering real estate projects, fall in housing construction, closings of brick factories and banks, bankruptcy of developers real estate, increase in the number of unemployed and evictions, etc. To tackle this complex situation with multiple challenges and resonances, the sociologist, researcher at the CNRS, and writer Quentin Ravelli, therefore, started from the brick. Brick, an emblematic building material in Spain, can also designate the making of a financial coup (winner) as a toxic loan. This material becomes the common thread of the film, the destruction and production sequences alternating with the other stories, and the sound creation itself working the sounds linked to it.

With its polysemy, the brick reveals itself as a relevant metaphor for capitalism, its excesses as well as its paradoxes. Because they are images of machines in factories, of Joaquin, mayor of the new city Valdeluz built during the years of real estate speculation and who tries to give an economic and tourist boost to his city, or of Blanca who with the help of the Platform for Victims of Credit (Plataforma de los Afectados por la Hipoteca) will establish a balance of power with its bank, capitalism is always in question. A paradoxical system, since - as explained in a television intervention Ada Colau, then responsible for the Platform, and since becoming mayor of Barcelona - thousands of people are today over-indebted for having followed the advice of the State . And Spain is the country that expels the most when it has the most empty dwellings.

Intertwining angles of intelligence, the most trivial to the most complex issues with intelligence, Quentin Ravelli paints an exciting portrait of contemporary Spain in his first film. Far from any angelic glance on the situation of the country, Bricks gives, in the passage, to see possibilities of the collective struggles vis-a-vis the destructive violence of capitalism.

There are wars of which the media speak little and which, however, continue to shell their dead. Director Pierre-Yves Vandeweerd was interested in one of his muted conflicts. In The Eternals, the Belgian documentary filmmaker went to Nagorno-Karabakh, an Armenian enclave located in Azeri territory that Armenia and Azerbaijan have been fighting over since the breakup of the former USSR. Despite a ceasefire signed in 1994, fighting continues to take place.

The path that led Pierre-Yves Vandeweerd to Haut-Karabagh is unexpected to say the least. During the Torments, his previous film, the director was brought to work on the archives of the psychiatric institute of Saint-Alban, in Lozère. There, he discovers the existence of a syndrome affecting survivors of the Armenian genocide, a "melancholy of eternity". It is the extension and the resurgence of this post-traumatic syndrome in people who have experienced the Nagorno-Karabakh conflict that Pierre-Yves Vandeweerd explores.
 

Like the particular genesis of this film, Les Éternels foils in its form all the expectations of a documentary on the war. No heroization, no virilization. At a slow pace, Les Éternels patiently deploys its images, alternating between the soldiers of today and those of yesterday. There are, therefore, the soldiers present today on the front line, most often filmed from behind in the trenches, in exercise at the barracks, the bodies taking precedence over their faces. Opposed to these group images are those of elderly men, wandering figures left to their own devices and engaging in obsessive gestures. Lonely men with chiseled faces, and whose melancholy looks carry within them the trauma suffered. Then there are the others, young men and women whose frantic races carry the concern of reminiscences of the genocide.

These characters evolve in magnificent landscapes, imposing by their majesty, as in moorland populated by ruins. A voiceover narrative, based in part on the writings of Armenian author Yegishé Tscharents, accompanies these images, amplifying feelings of concern, such as the impossible peace of mind. Beyond the question of a conflict and its devastating consequences for the populations, Les Éternels tackles in a form with striking beauty, imprint of Armenian culture - dominated by metaphor and telluric forces - the question of trauma and feeling of absurdity in the face of a world where history is constantly replayed.