Meniscus Films

Black Gold

black gold

Multinational coffee companies now rule our shopping malls and supermarkets and dominate the industry worth over $80 billion, making coffee the most valuable trading commodity in the world after oil.

But while we continue to pay for our lattes and cappuccinos, the price paid to coffee farmers remains so low that many have been forced to abandon their coffee fields.

Nowhere is this paradox more evident than in Ethiopia, the birthplace of coffee. Tadesse Meskela is one man on a mission to save his 74,000 struggling coffee farmers from bankruptcy. As his farmers strive to harvest some of the highest quality coffee beans on the international market, Tadesse travels the world in an attempt to find buyers willing to pay a fair price.

Against the backdrop of Tadesse's journey to London and Seattle, the enormous power of the multinational players that dominate the world's coffee trade becomes apparent. New York commodity traders, the international coffee exchanges, and the double dealings of trade ministers at the World Trade Organisation reveal the many challenges Tadesse faces in his quest for a long term solution for his farmers.

WHY BLACK GOLD?

The directors were provoked to make a film about coffee after it was announced at the end of 2002 that Ethiopia was facing another famine. Twenty years earlier in 1984, people across the world had been motivated to respond to this crisis by giving aid. The difference this time was that coffee farmers were being caught up in this new food crisis while the global coffee industry was booming.

They wanted to urgently remind audiences that through just one cup of coffee, we are inextricably connected to the livelihoods of millions of people around the world who are struggling to survive.

Coffee is a universal experience enjoyed by billions of people on a daily basis and is part of an industry worth over $80 billion a year. But the people behind the product are in crisis with millions of growers fast becoming bankrupt. Nowhere more evident is this paradox than in Ethiopia, the birthplace of coffee.

There hope was to make a film that forced people, as western consumers, to question some of there basic assumptions about there consumer lifestyle and its interaction with the rest of the world.

BLACK GOLD - WAKE UP AND SMELL THE COFFEE

The directors passionately believe that the language of film is a uniquely powerful medium to communicate to audiences everywhere about an engaging and timely issue that has an impact on the world in which we live. This has been the underlying theme of all of the directors work. But with BLACK GOLD, they were even more determined to make a film that would reach audiences everywhere and be relevant for all people.

From the beginning they wanted to make a film which, while having a political purpose, was not overly polemic; a film which was observational - giving the viewer the opportunity to draw their own conclusions about what they are experiencing.

In making the film they also wanted to challenge the portrayal of Africa often characterised in the Western media by an overload of de-contextualised images depicting poverty with no link to our own lives.

 

“EXCELLENT - angry, good-humoured and essential.” - (Philip French) OBSERVER

“everyone should see it” - DAILY MIRROR


“Remarkable - A moving but scandalous story. Black Gold has extraordinary power” -(David Gritten) DAILY TELEGRAPH

“chilling” - (Jamie Russell) TOTAL FILM

 

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