It was in Cabo Verde that I began my journey in documentary filmmaking, working as an assistant director and underwater lighting technician. The year was 1987, and I was studying social anthropology after having lived there for a year.
© Jorge Murteira. All rights reserved.
“Cabo Verde” is also the title of the documentary, which was shot on 16 mm film across the islands of Fogo, Sal, and Santiago.
Director João Ponces de Carvalho led a large team of young, dedicated individuals who gave their all to bring the production to completion. I learned a great deal and, at a young age, lived a deeply rewarding experience that would leave a lasting mark on me.
The documentary’s premiere was, for me, a double debut. And what a debut it was!
The first screening took place about a year later on the island of Santiago, in the city of Praia. A team from the Cape Verdean Film Institute later mobilized the necessary equipment to show the film in Cidade Velha, where there was still no electricity. In addition to the 16 mm projector, they had to transport a generator and sound equipment.
This location holds great significance in the history of colonialism and the country. Formerly known as Ribeira Grande, it was the first political and administrative capital and played a pivotal role during the colonial period. It was here, in the second half of the 15th century, that settlement of the island and archipelago began. The many historical buildings—some well-preserved, others barely visible—still scattered throughout the valley and surrounding areas bear witness to that legacy.
It wasn’t hard to mobilize the residents of Cidade Velha to come down the hillside to attend the impromptu screening. Using a megaphone, we announced that the event was free and that, in addition to footage of the town, there would also be underwater scenes filmed in the mysterious grotto at Ponta do Atum.
I clearly remember the flurry of people emerging from their homes at dusk, descending the hill in a festive atmosphere toward the square by the sea, where we waited for nightfall as we set up the equipment.
The only thing left was to choose the best spot where everyone could watch the film without the need to erect a projection screen. Expectations were high. After an initial failed attempt, we finally found a wide, smooth wall behind the old pillory that fit our needs perfectly. Everyone moved next door to the new location.
As night fell, we began testing image and sound with the whole crowd watching. The anticipation grew. No one lost interest.
I was struck by the audience’s attention. They were completely engaged, eyes fixed on the “screen.” Then came the part filmed there: the laughter and occasional cheers of excitement suddenly gave way to a deafening silence as the underwater images of Cidade Velha appeared.
At the end, as the credits rolled, no one moved until the final shot of Fogo Island, filmed from the top of São Filipe Fortress. Only when the reel ran out and the moonlight once again illuminated that part of the square did people begin to drift away.
From that premiere, I still hold the image of the silhouette of a young girl who enchanted me and who perfectly captured the magic of that night—and of cinema itself.
