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| Line | From | To | |
|---|---|---|---|
This is central Africa, 25 years ago. | 0:00:05 | 0:00:08 | |
The tropical forests of southern Cameroon. | 0:00:09 | 0:00:12 | |
I spent two years filming here | 0:00:15 | 0:00:17 | |
with the people who know these forests the best, | 0:00:17 | 0:00:20 | |
the Baka, hunter gatherers, | 0:00:20 | 0:00:23 | |
who were known to the outside world as Pygmies. | 0:00:23 | 0:00:26 | |
They introduced me to the wonders of this forest | 0:00:29 | 0:00:31 | |
and the creatures that live here. | 0:00:31 | 0:00:34 | |
Their names for the animals were magical. | 0:00:34 | 0:00:36 | |
Ebobo was the lowland gorilla that climbed the tallest trees. | 0:00:36 | 0:00:41 | |
Kamba was the largest of the forest elephants. | 0:00:41 | 0:00:45 | |
Nduku was the very rare golden cat. | 0:00:46 | 0:00:50 | |
And this creature, ngbongelebo, was the honey badger. | 0:00:50 | 0:00:54 | |
But the forest was really brought to life for me by the man who became my friend. | 0:00:54 | 0:00:59 | |
Likano, the father of the family I filmed. | 0:00:59 | 0:01:03 | |
HE IMITATES A CHIMPANZEE | 0:01:13 | 0:01:15 | |
Ali was Likano's youngest son. | 0:01:15 | 0:01:18 | |
25 years later, I've returned to Cameroon to find Ali again. | 0:01:18 | 0:01:22 | |
I want to find out what has happened to Ali and his family | 0:01:25 | 0:01:29 | |
when the outside world has changed so much. | 0:01:29 | 0:01:32 | |
I am returning to where I last saw him, | 0:01:35 | 0:01:38 | |
a few miles from the Bumba River | 0:01:38 | 0:01:40 | |
that drains south into the Congo basin. | 0:01:40 | 0:01:43 | |
Finding Ali was easy. | 0:02:07 | 0:02:10 | |
His new village is not far from where they had lived before. | 0:02:10 | 0:02:14 | |
Ali is 30 now and still living in a leaf hut | 0:02:14 | 0:02:17 | |
with his disabled daughter Yeye. | 0:02:17 | 0:02:20 | |
HE CHATS TO HER | 0:02:20 | 0:02:22 | |
Yeye is around five years old but can't walk | 0:02:31 | 0:02:35 | |
and is barely able to talk. | 0:02:35 | 0:02:37 | |
Yeye's mother finds it hard to cope with her disabled daughter, | 0:02:55 | 0:02:59 | |
so spends much of her time in her parents' village, | 0:02:59 | 0:03:02 | |
leaving Ali to look after her. | 0:03:02 | 0:03:05 | |
Ali has to carry Yeye everywhere. | 0:03:10 | 0:03:13 | |
Ali has told me that his father Likano died eight years ago | 0:03:14 | 0:03:17 | |
and takes me to his grave just beyond the village. | 0:03:17 | 0:03:20 | |
He brings with him a booklet I've given him | 0:03:22 | 0:03:26 | |
with photographs from 25 years ago. | 0:03:26 | 0:03:28 | |
This is the first time that Yeye and her cousin Ambi | 0:03:44 | 0:03:47 | |
have ever seen pictures of their grandfather. | 0:03:47 | 0:03:50 | |
SHE SPEAKS | 0:03:59 | 0:04:01 | |
Unusually for the Baka, Likano was a born leader | 0:04:31 | 0:04:34 | |
and insisted that his village had to be in the real forest, | 0:04:34 | 0:04:37 | |
well away from the road and the outside world. | 0:04:37 | 0:04:41 | |
Ali doesn't remember, but he hated the arrival of his baby sister. | 0:04:42 | 0:04:46 | |
LIKANO SPEAKS | 0:04:46 | 0:04:49 | |
LIKANO CHUCKLES | 0:05:06 | 0:05:09 | |
Ali's parents named their new baby girl Camera after my film camera, | 0:05:21 | 0:05:26 | |
because, so they said, I always cradled it like a baby. | 0:05:26 | 0:05:29 | |
Now Camera is 25 and has three children of her own. | 0:05:34 | 0:05:37 | |
Ambi is her oldest. | 0:05:39 | 0:05:41 | |
She is having her hair done for her first day at school. | 0:05:41 | 0:05:45 | |
AMBI SOBS | 0:05:56 | 0:05:59 | |
Camera's baby boy is called Akade and Ndodia is her other daughter. | 0:06:08 | 0:06:15 | |
I was surprised to find Ali's grandmother Ndende still alive. | 0:06:31 | 0:06:35 | |
She must be in her middle 70s and has seven great-grandchildren. | 0:06:35 | 0:06:39 | |
Four generations of women share this tiny village of 16. | 0:06:39 | 0:06:42 | |
HE CARRIES ON TALKING | 0:07:00 | 0:07:04 | |
HE CHUCKLES | 0:07:10 | 0:07:12 | |
SHE GIGGLES | 0:07:12 | 0:07:14 | |
I find Deni, Likano's widow, | 0:07:20 | 0:07:23 | |
looking after her grandson Akade while the village is fishing. | 0:07:23 | 0:07:27 | |
Camera has named Akade Little Elephant Hunter | 0:07:50 | 0:07:52 | |
in honour of his great-grandfather Akade, | 0:07:52 | 0:07:55 | |
the greatest of all the elephant hunters. | 0:07:55 | 0:07:58 | |
Deni must be 50 now. | 0:08:06 | 0:08:09 | |
She was shy and reserved when I first met her 25 years ago | 0:08:09 | 0:08:12 | |
but now she's very much the matriarch of the village. | 0:08:12 | 0:08:15 | |
With most of the family still here and fishing together, | 0:08:31 | 0:08:34 | |
as they always had done, it doesn't feel that much has changed. | 0:08:34 | 0:08:38 | |
I had no idea then how wrong I could be. | 0:08:38 | 0:08:41 | |
After a few nights, I showed the Baka the film we made together so long ago | 0:08:56 | 0:09:00 | |
on a projector set up in the village. | 0:09:00 | 0:09:03 | |
Not only can everyone see themselves for the first time on film, | 0:09:05 | 0:09:09 | |
loved ones are suddenly brought back to life on the big screen. | 0:09:09 | 0:09:13 | |
25 years on, Ali and his older brother Yeye are still inseparable. | 0:09:17 | 0:09:22 | |
THEY ALL CHAT AND LAUGH | 0:09:27 | 0:09:29 | |
LAUGHTER | 0:09:58 | 0:10:00 | |
EVERYONE CHEERS AND LAUGHS | 0:10:07 | 0:10:11 | |
EVERYONE CHEERS | 0:10:29 | 0:10:31 | |
HE SINGS | 0:10:46 | 0:10:49 | |
HE SINGS | 0:10:56 | 0:10:58 | |
HE CARRIES ON SINGING | 0:11:05 | 0:11:08 | |
HE CARRIES ON SINGING | 0:11:52 | 0:11:55 | |
THEY JOIN IN THE SINGING | 0:12:06 | 0:12:10 | |
THEY CARRY ON SINGING | 0:12:19 | 0:12:23 | |
Watching the film has rekindled Ali's love for his father. | 0:12:36 | 0:12:40 | |
The grave is no longer just an empty place. | 0:14:20 | 0:14:22 | |
Ali now feels the presence of his father again. | 0:14:22 | 0:14:27 | |
Likano's village 25 years ago was full of artefacts, | 0:14:29 | 0:14:32 | |
axes, spears and drums. | 0:14:32 | 0:14:35 | |
I am surprised to find there is nothing of that sort left here | 0:14:35 | 0:14:39 | |
when they were such an integral part of daily life. | 0:14:39 | 0:14:43 | |
The machete seems to have replaced everything. | 0:14:43 | 0:14:46 | |
The only blacksmith who still makes spear and axe heads | 0:14:53 | 0:14:57 | |
lives in a Bantu village four hours' walk away. | 0:14:57 | 0:15:00 | |
He fashions the axe heads from old car parts. | 0:15:05 | 0:15:09 | |
I want to encourage Ali to take me into the forest again | 0:15:14 | 0:15:17 | |
in the way that his father used to, | 0:15:17 | 0:15:19 | |
hunting and gathering with spears and axes. | 0:15:19 | 0:15:22 | |
After Likano's death eight years ago, | 0:15:27 | 0:15:31 | |
Deni married his younger brother Paul. | 0:15:31 | 0:15:33 | |
Paul is the only one in the village who remembers how to make an axe. | 0:15:40 | 0:15:44 | |
Ali and Yeye listen politely but they disapprove of Deni's marriage. | 0:15:59 | 0:16:03 | |
Paul does not measure up to their father. | 0:16:03 | 0:16:06 | |
The next day, Ali and Yeye take me to the forest | 0:16:13 | 0:16:16 | |
a couple of hours' walk away from the village | 0:16:16 | 0:16:18 | |
to show me why they no longer have a need for spears and axes. | 0:16:18 | 0:16:22 | |
Their old camp is beside the rapids of the river. | 0:16:22 | 0:16:25 | |
It was a place teeming with monkeys when I was last here | 0:16:25 | 0:16:29 | |
but it's obvious that this is no longer the case, | 0:16:29 | 0:16:32 | |
although the new spears and axes make it feel like the old times. | 0:16:32 | 0:16:36 | |
There are still plenty of trees here | 0:16:40 | 0:16:42 | |
but the forest is no longer what it seems. | 0:16:42 | 0:16:44 | |
So many of the medicines gathered from the forest are chemicals | 0:16:46 | 0:16:49 | |
produced by the trees to defend themselves | 0:16:49 | 0:16:52 | |
against attack from insects. | 0:16:52 | 0:16:53 | |
But many of these trees are no longer reproducing | 0:16:57 | 0:17:00 | |
because the very animals that pollinate their flowers and disperse their seeds | 0:17:00 | 0:17:04 | |
have been over-hunted and are close to disappearing altogether. | 0:17:04 | 0:17:08 | |
I watched Likano treat Ali with this resin when he was a baby. | 0:17:17 | 0:17:20 | |
It treats many ailments and will confer good health on Yeye. | 0:17:20 | 0:17:25 | |
Today the forest is a ghost forest, a shadow of its former self. | 0:17:51 | 0:17:56 | |
Even the fishing is not what it was. | 0:17:56 | 0:17:58 | |
We stay in their old camp overnight. | 0:18:03 | 0:18:05 | |
THEY TALK TO EACH OTHER | 0:18:06 | 0:18:09 | |
THEY CONTINUE TALKING | 0:18:31 | 0:18:34 | |
The forest has been hunted out, mostly by Bantu hunters | 0:20:11 | 0:20:14 | |
with guns and traps to provide bush meat | 0:20:14 | 0:20:16 | |
for people of nearby villages and towns. | 0:20:16 | 0:20:19 | |
Bush meat is the most prized meat in Cameroon | 0:20:19 | 0:20:22 | |
and fetches a high price throughout the country. | 0:20:22 | 0:20:26 | |
To the south of the Bumba River lie the rainforest national parks | 0:20:27 | 0:20:31 | |
that have been created in recent years to protect the forest, | 0:20:31 | 0:20:34 | |
but the Baka are no longer allowed to hunt there | 0:20:34 | 0:20:37 | |
as they have done for centuries. | 0:20:37 | 0:20:39 | |
They have been excluded, sometimes forcibly. | 0:20:40 | 0:20:45 | |
Baka villages have been burned | 0:20:45 | 0:20:47 | |
and families trucked out and dumped on the nearest road. | 0:20:47 | 0:20:50 | |
Pressed into smaller and smaller areas, | 0:20:50 | 0:20:53 | |
these patches of forest no longer offer | 0:20:53 | 0:20:55 | |
young Baka men like Ali and Yeye incentive to go hunting. | 0:20:55 | 0:20:59 | |
Losing the hunting skills is just one of the many reasons | 0:21:01 | 0:21:04 | |
why the Baka are losing touch with their culture. | 0:21:04 | 0:21:07 | |
Increasingly, I fear the forest | 0:21:07 | 0:21:08 | |
no longer has a part to play in their lives. | 0:21:08 | 0:21:11 | |
Timber companies add to the pressure, coming ever closer. | 0:21:24 | 0:21:28 | |
This concession to the north of Ali and Yeye | 0:21:28 | 0:21:30 | |
covers several hundred square kilometres. | 0:21:30 | 0:21:33 | |
With forest life now largely a thing of the past, | 0:22:21 | 0:22:24 | |
the focus has switched more to the outside world. | 0:22:24 | 0:22:27 | |
Camera is determined to give Ambi every chance she can. | 0:22:27 | 0:22:30 | |
She has decided she wants Ambi to attend school. | 0:22:30 | 0:22:33 | |
It's an hour's hop, skip and jump away in the Bantu village of Massea. | 0:22:34 | 0:22:39 | |
Today will be Ambi's first day. | 0:22:51 | 0:22:53 | |
She will be the only Baka child to attend. | 0:22:53 | 0:22:56 | |
Lessons are in French and English. | 0:23:38 | 0:23:40 | |
The rest of the children only speak their local Bantu language | 0:23:40 | 0:23:43 | |
so Ambi we will not understand a word. | 0:23:43 | 0:23:46 | |
The teacher, Sister Nathalie, | 0:23:47 | 0:23:49 | |
is one of four Catholic sisters who run the small mission here. | 0:23:49 | 0:23:53 | |
SISTER NATHALIE GREETS THE CLASS | 0:23:53 | 0:23:56 | |
THE CLASS RESPOND | 0:23:56 | 0:23:57 | |
Bonjour, papa. Bonjour, maman. | 0:24:04 | 0:24:08 | |
THE CHILDREN RESPOND | 0:24:13 | 0:24:15 | |
THE CHILDREN CALL OUT | 0:24:33 | 0:24:36 | |
THE CHILDREN CALL OUT | 0:24:41 | 0:24:43 | |
Ambi has been promised a school pinny to celebrate her first day. | 0:25:15 | 0:25:21 | |
THEY ALL SING | 0:25:31 | 0:25:34 | |
THE TEACHER ENCOURAGES THEM | 0:25:34 | 0:25:37 | |
THEY ALL SING | 0:25:45 | 0:25:49 | |
Allons-y! | 0:25:49 | 0:25:51 | |
THEY SING | 0:25:51 | 0:25:53 | |
Likano, Ambi's grandfather, would have been so proud of her today. | 0:25:53 | 0:25:58 | |
He spoke often of his ambition that his children should go to school. | 0:25:59 | 0:26:03 | |
SHE CALLS TO AMBI | 0:26:03 | 0:26:05 | |
THEY CHUCKLE HAPPILY | 0:26:12 | 0:26:14 | |
SHE SPEAKS TO AMBI | 0:26:14 | 0:26:17 | |
THEY CHAT | 0:26:24 | 0:26:27 | |
Losing their forest is one thing, but this is worse. | 0:26:27 | 0:26:31 | |
I'd been warned before I returned | 0:26:31 | 0:26:33 | |
that the Baka have lost a generation of men to alcohol addiction, | 0:26:33 | 0:26:36 | |
in particular to a distillation called arki. | 0:26:36 | 0:26:41 | |
Arki's a spirit distilled here from sweet bananas | 0:26:41 | 0:26:44 | |
by Bantu women who do not drink it themselves. | 0:26:44 | 0:26:47 | |
It is highly addictive, with a dangerously high alcoholic content. | 0:26:48 | 0:26:53 | |
It is illegal, as it was when I was here before, | 0:26:53 | 0:26:56 | |
but now the law is no longer enforced. | 0:26:56 | 0:26:58 | |
This lethal drink is destroying the Baka. | 0:27:02 | 0:27:04 | |
Camera's husband Ngoko is particularly susceptible to arki. | 0:27:11 | 0:27:15 | |
Local Bantu farmers exploit this addiction to entice the Baka | 0:27:15 | 0:27:19 | |
to hunt in the forest for them and to work in their cocoa plantations. | 0:27:19 | 0:27:23 | |
A full day's labour is often paid only with alcohol. | 0:27:24 | 0:27:28 | |
I'd noticed drinking once or twice on my arrival | 0:27:28 | 0:27:32 | |
but now it's obvious that it's happening most days. | 0:27:32 | 0:27:35 | |
Most shockingly, Deni, | 0:27:38 | 0:27:41 | |
who never drank when I was last here, seems addicted. | 0:27:41 | 0:27:45 | |
SHE EXCLAIMS | 0:27:59 | 0:28:02 | |
25 years ago, only some of the men drank. | 0:28:02 | 0:28:05 | |
Not only are many of the women now addicted, | 0:28:05 | 0:28:07 | |
but even children are drinking this lethal substance. | 0:28:07 | 0:28:10 | |
Ali's sister-in-law is six months pregnant. | 0:28:17 | 0:28:20 | |
It is hard to believe that regular drinking | 0:28:20 | 0:28:23 | |
will not damage the baby growing inside her. | 0:28:23 | 0:28:25 | |
THEY TALK TO EACH OTHER | 0:28:32 | 0:28:35 | |
SHE CALLS TO SOMEONE | 0:28:40 | 0:28:43 | |
I have no idea whether Ali's wife drank during her pregnancy | 0:28:50 | 0:28:53 | |
but I do wonder whether Yeye was affected by alcohol | 0:28:53 | 0:28:57 | |
while in her mother's womb. | 0:28:57 | 0:28:58 | |
Her condition is a real concern. | 0:28:58 | 0:29:01 | |
It's already becoming more and more difficult to look after her in the forest. | 0:29:01 | 0:29:05 | |
I also have a nagging worry | 0:29:05 | 0:29:07 | |
that Yeye may be suffering from foetal alcohol syndrome | 0:29:07 | 0:29:10 | |
but it's impossible to be sure. | 0:29:10 | 0:29:13 | |
I've suggested to Ali that he bring Yeye to the clinic here in Massea | 0:29:14 | 0:29:17 | |
to see what, if anything, can be done. | 0:29:17 | 0:29:21 | |
The clinic is right next door to Ambi's school. | 0:29:22 | 0:29:26 | |
Debout. | 0:29:26 | 0:29:27 | |
Assis. Debout. | 0:29:27 | 0:29:30 | |
Assis. Debout. Assis. | 0:29:30 | 0:29:34 | |
THE TEACHER SPEAKS | 0:29:34 | 0:29:36 | |
THE CHILDREN RESPOND | 0:29:36 | 0:29:38 | |
Sister Josephine established this clinic four years ago. | 0:29:45 | 0:29:49 | |
HE TRANSLATES | 0:29:53 | 0:29:55 | |
ALI REPLIES | 0:29:55 | 0:29:58 | |
Elle etait bebe? | 0:30:17 | 0:30:19 | |
But Ali is right. Yeye is at least six years old. | 0:30:28 | 0:30:32 | |
ALI TRANSLATES | 0:30:38 | 0:30:41 | |
Donne-moi la main. Viens. | 0:30:41 | 0:30:45 | |
Donne la main. Aha! C'est bien. | 0:30:48 | 0:30:50 | |
YEYE WHIMPERS | 0:30:54 | 0:30:56 | |
The problem is the child is very weak. | 0:31:03 | 0:31:06 | |
I will put her on a special diet. | 0:31:06 | 0:31:08 | |
She should be able to have foods rich in calcium | 0:31:08 | 0:31:13 | |
and possibly we should put her on calcium tablets. | 0:31:13 | 0:31:18 | |
THE OTHER MAN TRANSLATES | 0:31:18 | 0:31:20 | |
YEYE WAILS | 0:31:25 | 0:31:27 | |
Together with calcium tablets, | 0:31:27 | 0:31:30 | |
Ali is encouraged to exercise Yeye's legs | 0:31:30 | 0:31:33 | |
by walking her as frequently as possible. | 0:31:33 | 0:31:36 | |
Bien. Oui. | 0:31:36 | 0:31:38 | |
But I do still worry that Yeye's condition must be more serious | 0:31:38 | 0:31:42 | |
than calcium deficiency and a fear of walking. | 0:31:42 | 0:31:45 | |
If nothing is done, Yeye's future is increasingly bleak | 0:31:46 | 0:31:49 | |
as she becomes too big to be carried. | 0:31:49 | 0:31:52 | |
Ali has confided in me | 0:31:58 | 0:32:00 | |
that one day he hopes that Yeye will be able to attend school like Ambi. | 0:32:00 | 0:32:05 | |
Ambi's making great progress. | 0:32:26 | 0:32:29 | |
Sister Natalie already has high hopes for her, | 0:32:29 | 0:32:33 | |
perhaps one day to return as a nurse or a teacher. | 0:32:33 | 0:32:36 | |
There is a belief amongst the local teachers | 0:32:47 | 0:32:50 | |
that Baka children make the brightest students. | 0:32:50 | 0:32:53 | |
In the village senior school, the only Baka boy is top of the whole school. | 0:32:53 | 0:32:57 | |
THE CHILD SPEAKS TO AMBI | 0:33:07 | 0:33:10 | |
THE TEACHER EXCLAIMS AND CHUCKLES | 0:33:17 | 0:33:20 | |
Ca c'est bien! | 0:33:24 | 0:33:25 | |
Ecris. | 0:33:27 | 0:33:28 | |
Oui, ca c'est bien. | 0:33:28 | 0:33:31 | |
These few remaining tall trees stand as lonely sentinels, | 0:33:44 | 0:33:47 | |
a reminder of my stay so long ago. | 0:33:47 | 0:33:50 | |
The men have returned drunk from working in the Bantu plantation, | 0:33:53 | 0:33:57 | |
telling old forest stories inspired by the film. | 0:33:57 | 0:34:01 | |
As usual, Camera's husband is drunker than most. | 0:34:02 | 0:34:05 | |
Years ago, Ali and Yeye would have spent the day tending traps and hunting. | 0:34:31 | 0:34:36 | |
Now they and their friends simply sing about these animals their fathers once hunted. | 0:34:36 | 0:34:41 | |
THEY SING | 0:34:41 | 0:34:44 | |
This porcupine was the only time I saw bush meat in the village. | 0:34:47 | 0:34:50 | |
DRUMS PLAY AND THEY SING | 0:34:53 | 0:34:55 | |
DENI CALLS OUT | 0:35:10 | 0:35:13 | |
SHE CALLS OUT AGAIN | 0:35:18 | 0:35:21 | |
SHE CARRIES ON SPEAKING | 0:36:01 | 0:36:04 | |
HE REMONSTRATES | 0:36:11 | 0:36:14 | |
While her father Yeye has been dancing, | 0:37:21 | 0:37:24 | |
little Andu has been drinking the dregs of arki. | 0:37:24 | 0:37:27 | |
THEY SING AND CLAP | 0:37:30 | 0:37:33 | |
Deni is trying to sing the children's song about the monster Likobo. | 0:37:43 | 0:37:48 | |
SHE SINGS | 0:37:48 | 0:37:50 | |
THEY BOTH SING | 0:37:54 | 0:37:57 | |
THEY PLAY MUSIC | 0:38:10 | 0:38:12 | |
A BABY CRIES | 0:38:17 | 0:38:20 | |
THEY PLAY AND CLAP | 0:38:56 | 0:38:58 | |
SHE HUMS | 0:39:01 | 0:39:03 | |
The old film has revived the women's interest in so many things. | 0:39:07 | 0:39:11 | |
They, more than the men, still keep some of the old traditions alive. | 0:39:11 | 0:39:15 | |
Interest in the old ways is so high | 0:39:20 | 0:39:22 | |
that I'm forced to show the film almost every night now. | 0:39:22 | 0:39:26 | |
Beyond the sheer entertainment, | 0:39:26 | 0:39:29 | |
is a genuine fascination in the world of their fathers. | 0:39:29 | 0:39:32 | |
CHEERING | 0:39:41 | 0:39:44 | |
THEY TALK OVER EACH OTHER | 0:39:44 | 0:39:47 | |
LAUGHTER | 0:39:49 | 0:39:53 | |
THUNDER | 0:39:56 | 0:39:59 | |
SHE LAUGHS | 0:40:12 | 0:40:14 | |
CHEERING AND APPLAUSE | 0:40:21 | 0:40:23 | |
LAUGHTER AND APPLAUSE | 0:40:26 | 0:40:28 | |
THUNDER IN BACKGROUND | 0:40:30 | 0:40:33 | |
BAKA MUSIC | 0:40:33 | 0:40:34 | |
Desperately proud of what they've seen on screen, | 0:40:49 | 0:40:52 | |
Ali and Yeye talk more and more about going on a journey, | 0:40:52 | 0:40:55 | |
deep into the forest to experience again the life of Likano and Akade, the elephant hunter. | 0:40:55 | 0:41:01 | |
HE CHEERS | 0:41:30 | 0:41:31 | |
THE BIRDS SCREECH | 0:41:32 | 0:41:34 | |
CRICKETS IN BACKGROUND | 0:41:35 | 0:41:38 | |
DRUMBEAT | 0:41:42 | 0:41:44 | |
After the film, | 0:41:51 | 0:41:52 | |
Camera's brought little Akade to the village of her in-laws, | 0:41:52 | 0:41:56 | |
to dance in celebration of the life and death of her great-uncle, Sakola. | 0:41:56 | 0:42:01 | |
Sakola's widow, Mbali, leads the chant. | 0:42:01 | 0:42:05 | |
Deni's also here. | 0:42:07 | 0:42:10 | |
Without Paul, she's receiving the attention of younger men. | 0:42:11 | 0:42:18 | |
SINGING AND MUSIC | 0:42:18 | 0:42:20 | |
Nobody here could possibly know the tragic turn of events | 0:42:28 | 0:42:32 | |
that is to unfold in the next few days. | 0:42:32 | 0:42:34 | |
Overnight, Paul's threat has come true. | 0:42:41 | 0:42:44 | |
Fuelled by alcohol, he has beaten a young man over the head with a machete | 0:42:44 | 0:42:49 | |
for getting a little too friendly with Deni. | 0:42:49 | 0:42:52 | |
The incident with Paul is bad enough, but worse has happened. | 0:43:52 | 0:43:56 | |
Last night, Camera's husband returned home drunk. | 0:43:56 | 0:43:59 | |
He accused her of having had an affair and beat her. | 0:43:59 | 0:44:01 | |
Camera ran into the forest to escape him | 0:44:05 | 0:44:07 | |
and spent a terrified night there. | 0:44:07 | 0:44:10 | |
LAUGHTER IN BACKGROUND | 0:44:13 | 0:44:15 | |
Yeye has been taking her calcium pills | 0:44:21 | 0:44:24 | |
and is making some progress. | 0:44:24 | 0:44:27 | |
But the focus of the village is on little Akade. He has fallen sick. | 0:44:27 | 0:44:32 | |
AKADE CRIES | 0:44:41 | 0:44:44 | |
There are many mahogany trees in this forest. | 0:44:56 | 0:45:00 | |
Its commercial name is Sapele | 0:45:00 | 0:45:02 | |
and it's exploited by the loggers for export to other countries. | 0:45:02 | 0:45:06 | |
But for Deni, it provides cures for many ailments. | 0:45:09 | 0:45:13 | |
SHE SINGS | 0:45:13 | 0:45:16 | |
She's hopeful that it will help her grandson. | 0:45:21 | 0:45:25 | |
BABY CRIES | 0:45:26 | 0:45:31 | |
Two days later, Ali has asked me | 0:46:50 | 0:46:51 | |
to come to the village of Camera's husband, Ngoko. | 0:46:51 | 0:46:54 | |
Everyone has heard the devastating news. | 0:46:54 | 0:46:58 | |
Baby Akade died in the night. | 0:46:58 | 0:47:01 | |
WAILING | 0:47:01 | 0:47:05 | |
SHE CRIES | 0:47:05 | 0:47:11 | |
SHE SOBS | 0:49:52 | 0:49:55 | |
DRUMMING AND CLAPPING | 0:50:18 | 0:50:24 | |
For the second time in a week, | 0:50:28 | 0:50:30 | |
the village gathers to express its grief. | 0:50:30 | 0:50:32 | |
Mbali, little Akade's aunt, is leading the chant again. | 0:50:35 | 0:50:39 | |
CHANTING AND DRUMMING | 0:50:39 | 0:50:43 | |
It's hard to believe that Camera was dancing here with her baby son | 0:51:18 | 0:51:22 | |
just a few days ago. | 0:51:22 | 0:51:24 | |
Death has come horribly quickly. | 0:51:24 | 0:51:26 | |
SINGING | 0:52:17 | 0:52:21 | |
Always the craftsman, Babu has made a guitar to sing | 0:52:23 | 0:52:27 | |
his lament for his nephew, little Akade. | 0:52:27 | 0:52:30 | |
HE SINGS | 0:52:30 | 0:52:33 | |
SHOUTING | 0:53:31 | 0:53:35 | |
The cause of little Akade's death is deeply troubling. | 0:53:54 | 0:53:56 | |
The conviction persists that sorcery by persons unknown | 0:53:56 | 0:54:00 | |
is at the heart of it. | 0:54:00 | 0:54:01 | |
The second death in so little time, | 0:54:01 | 0:54:03 | |
Mbali, his aunt, feels the finger of guilt pointing at her. | 0:54:03 | 0:54:07 | |
The heads of the two families, Selo and Paul, | 0:54:53 | 0:54:56 | |
are trying to calm things. | 0:54:56 | 0:54:58 | |
Camera's husband has fuelled the rumours by spending the night away. | 0:55:37 | 0:55:42 | |
SINGING AND DRUMMING | 0:58:01 | 0:58:06 | |
To change the atmosphere of death and recrimination, | 0:58:24 | 0:58:29 | |
Ali and Yeye have decided that the village must leave | 0:58:29 | 0:58:32 | |
as soon as possible for the deep forest. | 0:58:32 | 0:58:35 | |
They've invited the Likobo monsters to dance for the children | 0:58:39 | 0:58:43 | |
as a prelude to the journey. | 0:58:43 | 0:58:45 | |
UPBEAT SINGING AND DRUMS | 0:58:49 | 0:58:54 | |
SINGING, DRUMS AND CLAPPING CONTINUE | 0:59:28 | 0:59:32 | |
BIRDS AND INSECTS CHIRP | 0:59:40 | 0:59:44 | |
Before they go on the trip, | 1:00:38 | 1:00:40 | |
Deni has called Camera and her husband together, | 1:00:40 | 1:00:44 | |
to try and understand their son's death. | 1:00:44 | 1:00:48 | |
It was Camera who asked for one last viewing of the film before we set off. | 1:01:32 | 1:01:37 | |
Seeing his father's affection for him as a child is deeply moving for Ali. | 1:02:44 | 1:02:48 | |
Ali wants to pass on to Yeye what his father passed on to him. | 1:02:50 | 1:02:55 | |
Tonight, he decides to take Yeye with him. | 1:02:55 | 1:02:59 | |
He can't bear to leave her behind. | 1:02:59 | 1:03:02 | |
BIRDS CHIRP | 1:03:02 | 1:03:05 | |
Somewhere in the forest, the family are heading west, | 1:03:05 | 1:03:09 | |
avoiding the national parks to the south, where they risk arrest. | 1:03:09 | 1:03:14 | |
The logging concession lies in their way. | 1:03:18 | 1:03:22 | |
Their guards patrol the boundaries. | 1:03:22 | 1:03:25 | |
Looping west to avoid them will make the journey much longer. | 1:03:25 | 1:03:29 | |
And dangerous animals - elephant, gorilla, snakes - | 1:03:29 | 1:03:33 | |
lie ahead in the deep forest. | 1:03:33 | 1:03:35 | |
They don't know the way, but nothing is going to stop them now. | 1:03:35 | 1:03:40 | |
Mado, Little Yeye's mother, | 1:03:57 | 1:03:59 | |
has joined the band of travellers to help Ali with her daughter. | 1:03:59 | 1:04:03 | |
MAN'S VOICE REPLIES | 1:04:21 | 1:04:23 | |
THEY LAUGH | 1:04:57 | 1:05:01 | |
Settling under the forest canopy for the night, | 1:05:01 | 1:05:03 | |
away from the troubles of the village, | 1:05:03 | 1:05:05 | |
is somehow deeply comforting. | 1:05:05 | 1:05:09 | |
WOMAN LAUGHS | 1:05:25 | 1:05:28 | |
It's not long before the true forest offers up food, | 1:05:33 | 1:05:37 | |
just like the old days. | 1:05:37 | 1:05:39 | |
THEY CHAT | 1:05:49 | 1:05:52 | |
BIRDS AND INSECTS CHIRP | 1:05:52 | 1:05:55 | |
CHATTING CONTINUES | 1:05:57 | 1:06:02 | |
THEY CHAT | 1:06:18 | 1:06:22 | |
EXCITED CHATTER | 1:06:50 | 1:06:55 | |
Njenje are tiny, stingless bees, | 1:06:55 | 1:06:57 | |
whose nest stretches the entire length of this rotten tree, | 1:06:57 | 1:07:02 | |
beneath the outer bark. | 1:07:02 | 1:07:04 | |
CHATTING CONTINUES | 1:07:12 | 1:07:15 | |
BEES HUM | 1:07:18 | 1:07:21 | |
CHOPPING AND CHATTER CONTINUE | 1:07:21 | 1:07:25 | |
DEEP ROAR | 1:08:16 | 1:08:21 | |
ELEPHANT TRUMPET ECHOES | 1:08:29 | 1:08:32 | |
THEY CHAT | 1:09:36 | 1:09:40 | |
CHATTING CONTINUES | 1:09:48 | 1:09:51 | |
CRICKETS CHIRP | 1:09:51 | 1:09:54 | |
After five long days, having successfully avoided the loggers | 1:10:51 | 1:10:55 | |
and the park guards, we finally reach the Elephant's Mirror. | 1:10:55 | 1:11:00 | |
Oh! | 1:11:22 | 1:11:24 | |
HE LAUGHS AS HE TALKS | 1:12:14 | 1:12:17 | |
The Baka are using an old Bantu hunting camp as a temporary village. | 1:12:25 | 1:12:29 | |
Ali has discovered a honey bees' nest high in the canopy. | 1:12:32 | 1:12:37 | |
It will take many hours to fell this tree, | 1:12:37 | 1:12:41 | |
to get at the honey 30 metres above. | 1:12:41 | 1:12:44 | |
Felling trees in small numbers doesn't hurt the forest - | 1:14:00 | 1:14:04 | |
it may even make it richer by providing light gaps | 1:14:04 | 1:14:08 | |
for new kinds of trees to grow. | 1:14:08 | 1:14:11 | |
TREE CRACKS | 1:14:25 | 1:14:26 | |
TREE CRACKS AND FALLS | 1:14:31 | 1:14:32 | |
BEES BUZZ | 1:14:44 | 1:14:46 | |
THEY SPEAK IN BAKA | 1:15:03 | 1:15:04 | |
For Ali, and all the Baka, honey is the greatest gift of the forest. | 1:15:13 | 1:15:17 | |
THEY LAUGH | 1:15:59 | 1:16:01 | |
HE SPEAKS BAKA | 1:16:03 | 1:16:04 | |
This is just how it was 25 years ago. | 1:16:25 | 1:16:28 | |
We feel safe from the world. | 1:16:28 | 1:16:31 | |
Even Camera and Ngoko are talking again. | 1:16:31 | 1:16:34 | |
Away from the numbing effect of alcohol, | 1:16:37 | 1:16:39 | |
the true predicament of the Baka sinks in. | 1:16:39 | 1:16:43 | |
This morning we have to leave. | 1:19:11 | 1:19:13 | |
Ali knows in his heart that Yeye will never be able to come back here again. | 1:19:13 | 1:19:19 | |
But still he continues to encourage her. | 1:19:19 | 1:19:21 | |
ALI SPEAKS IN BAKA | 1:19:23 | 1:19:24 | |
THEY LAUGH | 1:20:14 | 1:20:16 | |
SHE LAUGHS | 1:20:20 | 1:20:21 | |
THEY LAUGH | 1:20:27 | 1:20:28 | |
But it can never be like this. Paradise doesn't exist. | 1:20:51 | 1:20:55 | |
I hear rumours of a railroad coming into the forest, | 1:20:55 | 1:21:00 | |
with six kilometre-long trains to take the minerals | 1:21:00 | 1:21:03 | |
that lie beneath the trees away to distant countries. | 1:21:03 | 1:21:06 | |
I returned a few weeks later to the village to find out how things are. | 1:21:12 | 1:21:16 | |
Not much has changed. The deep forest seems a world away. | 1:21:17 | 1:21:21 | |
-ALI: -Woop, woop, woop! | 1:21:21 | 1:21:25 | |
Little Yeye is older, stronger, but still unable to walk by herself. | 1:21:25 | 1:21:29 | |
PEOPLE SING SINGING IN BAKA | 1:21:31 | 1:21:33 | |
THEY SING IN BAKA | 1:21:34 | 1:21:35 | |
The Bantu farmers are still here, prowling the village | 1:21:40 | 1:21:43 | |
with their constant offers of poisonous alcohol. | 1:21:43 | 1:21:46 | |
Camera has told her husband to leave. | 1:21:55 | 1:21:58 | |
She will no longer tolerate his drunken abuse. | 1:21:58 | 1:22:00 | |
Ambi is already speaking some French. | 1:22:21 | 1:22:24 | |
Oof! | 1:22:25 | 1:22:26 | |
THEY LAUGH | 1:22:32 | 1:22:34 | |
Yeye's wife has given birth to a little girl they call Alula. | 1:23:05 | 1:23:09 | |
We do not know yet what effect the alcohol drunk by her mother | 1:23:11 | 1:23:14 | |
during her late pregnancy may have on her tiny body. | 1:23:14 | 1:23:18 | |
But Alula will never meet her older sister Andu, | 1:23:20 | 1:23:22 | |
who died shortly after the return from the Elephant's Mirror. | 1:23:22 | 1:23:27 | |
With the death of little Akade, two of Deni's seven grandchildren | 1:23:30 | 1:23:33 | |
have now died during my short stay of a few months. | 1:23:33 | 1:23:37 | |
Yeye tends his daughter's new grave. | 1:23:37 | 1:23:39 | |
Ali has taken his daughter once again to his father's grave. | 1:23:58 | 1:24:01 | |
He never stops hoping for her. | 1:24:01 | 1:24:04 | |
Is this what it's come to? | 1:25:24 | 1:25:26 | |
Mud from his father's grave, rubbed on his daughter in hope, | 1:25:26 | 1:25:30 | |
but perhaps more in despair. | 1:25:30 | 1:25:33 | |
This is how I left Ali that morning. | 1:25:41 | 1:25:43 | |
HE HUMS | 1:25:45 | 1:25:46 | |
25 years ago, I left Ali and his baby sister Camera | 1:25:51 | 1:25:54 | |
safe in the womb of the forest, in the loving care of their parents. | 1:25:54 | 1:25:58 | |
I wondered then whether they would be the last generation to lead a forest life. | 1:25:58 | 1:26:04 | |
BABY CRIES | 1:26:08 | 1:26:09 | |
What I've found in these few months is worse than I could've imagined. | 1:26:16 | 1:26:19 | |
Under the canopy of these tall trees, | 1:26:20 | 1:26:23 | |
a human disaster is happening, quietly, | 1:26:23 | 1:26:25 | |
unnoticed by the outside world. | 1:26:25 | 1:26:29 | |
Alcohol has filled the void left by the retreating forest. | 1:26:31 | 1:26:35 | |
There are several thousand Baka families scattered throughout the forests of Southern Cameroon. | 1:26:38 | 1:26:43 | |
Ali's story speaks for many of them. | 1:26:43 | 1:26:46 | |
They've found themselves in a cul-de-sac, | 1:26:46 | 1:26:48 | |
squeezed by the interests of wildlife conservation, | 1:26:48 | 1:26:51 | |
the exploitation of the forests, | 1:26:51 | 1:26:53 | |
and the self-interest of ever-present Bantu farmers. | 1:26:53 | 1:26:56 | |
If there is to be a future for the Baka, | 1:26:58 | 1:27:01 | |
it lies with the children of Ambi's generation. | 1:27:01 | 1:27:03 | |
TEACHER SPEAKS IN FRENCH | 1:27:03 | 1:27:06 | |
Now top of her class, | 1:27:07 | 1:27:08 | |
education is gaining Ambi the respect of her classmates. | 1:27:08 | 1:27:12 | |
THEY RECITE THE WORD "TULU" | 1:27:57 | 1:28:00 | |
This is how it needs to be, bringing back a culture to the classroom as part of everybody's learning | 1:28:09 | 1:28:15 | |
as a first step in giving the Baka the respect they deserve. | 1:28:15 | 1:28:19 | |
TEACHER SPEAKS | 1:28:52 | 1:28:54 | |
CHILDREN REPLY | 1:28:54 | 1:28:55 | |
Subtitles by Red Bee Media Ltd | 1:28:57 | 1:28:59 |