When Gessica Généus's "Freda" was released in theaters in 2021, I did not have – caught up in the routine of daily life, I must admit – the opportunity to see it at a special screening with the Haitian director present; and this despite a friend's insistence. So, when this same friend informed me that "Marie Madeleine" – a kind of reinterpretation of the biblical figure of the same name – would be shown at the beginning of this month of November and offered to accompany me, I jumped at the chance without hesitation. This second feature film by the director, presented at the Cannes Film Festival in May 2026, is enjoying great success and has won several awards, including recently in Rome, the Villa Medici Award for Best Film. To avoid spoiling the pleasure of those who would like to discover this cinematographic work, I will only say that the story takes place in the city of Jacmel; we witness, under rather particular circumstances, the meeting between Marie Madeleine – whose role is played by the director herself – an alcoholic prostitute living in a brothel, and Joseph, the son of a pastor whose church has just set up right across from this brothel. It goes without saying that the relationship between these neighbors will be conflicted. Two completely opposing ways of life will face each other and clash. However, despite these constant tensions, Marie Madeleine and Joseph will manage to forge a form of friendship throughout the film. If you think this is yet another "Romeo and Juliet" movie or a "Pretty Woman" style story, think again! This film, which certainly addresses the question of love, is actually a critique of Haitian society. Gessica Généus presents a rather sharp and just perspective, I find, on our country. She manages to convey on screen the complexities we encounter every day.<\/p>
Furthermore, it should be added that this film prompts reflection, as it deals with several subjects including that of faith and morality. When the church opens its doors right across from this place of prostitution, the conflict between the two camps becomes inevitable. Joseph's father, Jacques, a pastor who self-proclaims himself the guardian of morality, embarks on a kind of crusade to try to shut down this establishment. While he uses legal means, his obsession ensnares him in a blindness that prevents him from considering the path of dialogue and diverts him from his true spiritual mission. This austere attitude emerges at several points in the film, particularly in the relationship the pastor has with his own son. By categorically disapproving of the closeness between the two main characters, he imposes his vision of a world dominated solely by Christian faith. Any other way of life that contradicts his morality must be rejected. Yet, did not Jesus welcome Marie Madeleine among his disciples despite her past, if we adhere to the idea that has long been propagated that she was a prostitute? In any case, Jacques's blindness will lead to his downfall; obsessed with his goal, he becomes lost in his radical sermons. <\/p>
Gessica Généus thus highlights thought patterns that prevent real dialogue among Haitians. Rather than listening, we prefer to hold our ground. Instead of discussing, we prefer to hurl insults at each other. Instead of reaching out, we prefer to barricade ourselves behind walls topped with barbed wire. Instead of praying together, we prefer to blame. The two opposing sides in this film confront each other without attempting to understand their experiences, their journeys, and their respective life choices. The only ones who manage to overcome their differences by listening and dialoguing are Marie Madeleine and Joseph; they have both accepted each other as they are. This conflict between the camp of prostitutes and the camp of evangelicals actually obscures the incapacity of the Haitian state – represented at times in the film – to govern a country that is sinking into lies, corruption, and violence. The director skillfully projects the societal derisions of Haiti while highlighting the normalization of the people's misery. <\/p>
Other societal issues are dealt with in this film. However, I will refrain from mentioning them, as I am neither a film critic nor a cinematic work analyst. I will therefore leave this task to professionals. And, more specifically, I will leave it to each person to form their own opinion on "Marie Madeleine". Because, after all, isn't that what cinema is? Through the emotions conveyed, isn't cinema a kind of interaction, exchange, dialogue – again, dialogue – between the viewer and the work? The work questions the viewer, and the viewer questions the work. A film can intentionally seek to challenge well-established ideas in society to encourage reflection. Whether one ultimately agrees or not with the message, or the messages, of a film, it is essential to have – some films lend themselves to this better than others, that's true – one's own intellectual journey. Such encouragement allows for the creation of a debate, even a public debate, to make things change. Gessica Généus masterfully manages to immerse us in her world and push us to think critically. The accolades for this film are well-deserved! The director thus makes Haitian cinema shine internationally. <\/p>
However, as I left the screening room, I asked myself a question: will Haitian cinema ever be reborn? Or more precisely, will it experience a new resurgence? I am referring here to cinema as an establishment, but also as an industry. For those of us who are more nostalgic, who remembers the Triomphe, the Impérial, or Capitol? In the same pages of this current newspaper, when the print version was mass-printed, before the digital takeover, and especially before the crystallization of the security crisis, there was, if memory serves, a cinema section that listed the movie releases of the week; some radio stations also broadcasted film announcements; and massive movie posters plastered on billboards in the city promoted foreign productions, particularly Hollywood ones. The three establishments mentioned earlier were true places of relaxation. On Friday or Saturday nights, one would meet friends, classmates, or even a date, before being captivated by the dark rooms and diving into the immensity of the screen on which images were projected. One would come out transformed, overwhelmed with emotions, and above all, relaxed. For a few hours, daily worries were forgotten. These cinemas were sweet interludes. I don't know about you, but some of my most memorable experiences were created at the Impérial and Capitol. Unfortunately, political, economic, and security crises, along with the earthquake of 2010, wreaked havoc on these establishments; not to mention the Triomphe which, despite its reopening in 2015 following renovations, couldn't withstand the deteriorating situation. How I pity the younger generation that will not know the pleasures of these cult places in the metropolitan area and the experience of movie theaters!<\/p>
To be completely honest on this subject, we cannot overlook the alternatives that have been implemented by professionals in the field. I think of private screenings held, notably in hotel reception halls in Pétion-Ville. These screenings primarily keep Haitian cinema alive and give visibility to Haitian directors. However, they are sporadic, limited in time, and incomparable to cinemas of the past. The spectators of these private screenings are but privileged few. Yet, isn't cinema an "art for the masses"? Should it not be accessible to the largest number, from the wealthiest to the most destitute among us? There used to be free outdoor screenings in public plazas, like Champ de Mars or even at Place Saint-Pierre, which all residents of a neighborhood could attend. But insecurity, once again, prevents the continuity of such initiatives. <\/p>
Yet, cinema sparks vocations, whether as an actor, director, or screenwriter. It can temporarily extricate a young person from the misery and violence of the streets by taking them on journeys through distant universes. It is far from my intention to suggest that cinema is the solution to all our problems, but it can help alleviate some and save others. It is therefore necessary – with the elections looming, hopefully, for the summer of 2027 – for the film industry to be revitalized, or at least for there to be a genuine recovery plan for this economy. Certainly, the current priority is the politico-economic situation coupled with the security issue, I do not disagree, but this industry should not be relegated to obscurity. One need only observe the success of "Marie Madeleine" to be convinced of this. <\/p>
Thus, if cinemas have disappeared from the cultural landscape, Haitian cinema, as an industry, like everything else in Haiti, is resilient. This industry attempts, however clumsily, to withstand the crises. This country is brimming with talented filmmakers of international renown such as Raoul Peck, Fabienne Colas, or Arnold Antonin. And currently, Gessica Généus manages to add her stone to this edifice, shining the spotlight once again on Haiti while revealing the qualities of our cinema. It is therefore not completely dead, but the boom that this industry experienced, particularly in the early 2000s, is no longer. Making a film in Haiti today, I can only imagine, is an achievement in the face of a catastrophic national situation; and the lack of financial resources halts certain projects. Yet, it is more than necessary for these initiatives to be supported, even subsidized. Through cinema, we can also tell our story, our country, our culture; we can shape our imagination; we can distance ourselves from foreign narratives often imbued with fantasies inherited from the past. Cinema is an art that, in a certain way, allows us to contribute to the construction of our identity. Who wouldn't dream of seeing a Haitian feature film about the Battle of Vertières, which we will celebrate this year on its 223rd anniversary? In short, with cinema, anything is possible! We must hope that the international success of certain films, like "Marie Madeleine", reignites the ambition of a Haitian film industry. <\/p>
