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Ernest Cole in ERNEST COLE: LOST AND FOUND, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
In this interview, Peck discusses why he decided to make a film about Ernest Cole, how the late photographer’s images exposed the reality of life in apartheid South Africa, the racism he encountered as an exile in America and why Cole’s work remains significant today. A photograph by Ernest Cole, from ERNEST COLE: LOST AND FOUND, a Magnolia Pictures release. © Ernest Cole. Photo courtesy of Magnolia Pictures.You’re actually asking me why he left hell? That’s obvious. He realized that the pictures he was making had no future in South Africa. Many innocent pictures couldn’t get published, let alone the kind of destructive testimony he was photographing. He knew he had to go away. Exile is always a very tough decision for anybody.
Raoul Peck, director of ERNEST COLE: LOST AND FOUND, a Magnolia Pictures release. ©Matthew Avignone. Photo courtesy of Magnolia Pictures.First of all, I’d say the book is still important for South Africa today. His analysis at the time, unfortunately, is still partly true. I think he’d turn in his grave to see how little progress happened in some parts of South Africa. In that sense,Concerning what’s happening here in the U.S. … half of America is grieving and we’ll see how to reconnect.
A photograph by Ernest Cole, from ERNEST COLE: LOST AND FOUND, a Magnolia Pictures release. © Ernest Cole. Photo courtesy of Magnolia Pictures.In terms of “happy endings,” your film takes a sudden turn with a trip to Stockholm. There’s a mystery in your film — how do you suspect 60,000 of his negatives wound up stored in Sweden and what happened to them?
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