Discovering Katiana Milfort's world, inspirations, and projects

Internationally renowned director, actress, and cultural operator Katiana Milfort has been suffering from a herniated disc for at least five years. During a period of remission, prior to the current worsening of her condition, which she is facing with courage, the online news and investigative media outlet Enquet'Action met with her for you.

Katiana told us about her dreams, her plans, and her view of the world. She also discussed the impact of the security crisis on the cultural sector, as well as her first steps on stage. These dreams have now been put on hold for several months due to the deterioration of her health.

Exclusive interview

By Emanika Jhovanie Georges

Enquet’Action (EA): Hello, everyone! Today, we are delighted to welcome a woman of many talents. She performs on stage, in theater, and in film—both nationally and internationally. A journalist and model, she embodies versatility and excellence in everything she does. Her impressive career has left a mark on many people. Together, we will discover her world, her inspirations, and her future projects. Hello Katiana Milfort, how are you?

Katiana Milfort (KM): Hi Ema, I'm doing great, how are you?

EA: I'm doing great too.

KM: No need to say it, I can see that!

EA: Excellent, that's perfect then! Tell us, Katiana Milfort, who are you outside of your life as an artist?

KM: Outside of my life as an artist, I am always busy. I work, I support artists, I help friends with projects, I write, and I learn [constantly].

EA: That's great! So what made you choose theater?

KM: What made me choose it? First of all, I am against all forms of injustice. I want to raise awareness and learn to share with others. I have a lot to share and, above all, I want to draw attention to these issues. I want to show people the different behaviors we experience, the different forms of aggression we inflict on others that remain taboo. These gratuitous injustices between siblings, friends, and colleagues... I think that for a society to be complete, it needs honest people: honest women and honest men. Otherwise, we risk waking up one fine morning and finding that we have all become cannibals... if we aren't already.

EA: We know that Haiti has been experiencing crises, political instability, and, above all, growing insecurity for some time now. Tell us, how does insecurity affect the arts sector in Haiti?

KM: The impact is considerable. For one thing, audiences cannot travel to attend performances. Despite everything, artists continue to exist through their art. But the public, out of fear, stays at home, which is understandable. We are seeing a decline in revenue: sponsors, who were already virtually non-existent, have completely disappeared. The production chain is no longer functioning. Whether it be stage productions, theater, music, painting, sculpture, or cinema... everything that could generate economic momentum is virtually non-existent. There is also a massive migration of talent. We have lost so many artists: singers, rappers, comedians, actors, painters, writers... All of them are forced to leave the country, not only to exist through their art, but simply to exist at all. The few venues that existed have closed. Certain cultural areas can no longer function. Cultural centers, libraries, and associations are now completely shut down. The arts economy has been completely stifled. And all because of insecurity.

EA: Indeed! We know that Alexandre Sutto's election was your first role in theater, right? In that role, you appeared naked on stage. How did you find that experience, knowing that you are probably the only Haitian actress to have done so?

KM: It was difficult, very difficult. In fact, it was my first time on stage, my grand entrance into the Haitian artistic world. But it was very difficult. It was difficult because I was still a student at the time. And it was difficult to play this character. I had to juggle my studies and my entry into the professional world. In the end, everything went well. It was a show put together with Benoît Viste, Pietro Varrasso—may he rest in peace—Ronald Zéphirin, and Thomas Louima. What happened was that the actress who was originally cast dropped out eight days before the performance because her husband had forbidden her to perform. So the director had to find a replacement after three months of preparation and rehearsals. I was the last person they thought of, after all the other women in the arts had turned it down. Some were afraid of being broadcast, others feared public scrutiny, or the reaction of their parents, husbands, or the infamous “what will people say.” I was really the last girl to be contacted. And for me, it's my job, it was already my job. For me, there was no conflict in my mind. Every role you agree to play is a risk you take. This role was a huge challenge, especially since I was still a student. I was very scared: I fell ill the day before the show, with a terrible fever. But I performed anyway, and it went very well. The show was magnificent. The audience, I think, was both amazed and shocked.

EA: Did you have any problems after that? Were you harassed?

KM: Oh, of course, of course. The day after the show, I was contacted at 6 a.m. by the French Embassy. They wanted to make sure I was alive and well, because they had spent the night receiving calls and messages claiming that I was dead, that my partner had beaten me, or that I had been found lying in a street corner. They waited until 6 a.m. to contact me, to make sure I was indeed alive—and to find out what had really happened. This is what they were told.  I went over and arrived around 8 a.m. to show them that I was fine. They had received calls all night saying that I had been killed or beaten up. To this day, I don't know where these rumors came from, but they were very worried. They asked the director to remove that part of the play. But he refused, explaining that it was essential to the whole show.

It wasn't pornographic or exhibitionist. Since it wasn't a problem for the character, it wasn't a problem for me either. We kept it in, but the director still made me wear a little see-through shirt over it. It wasn't much, but it was enough. It was very shocking for the audience, but I got some very good feedback. On the other hand, I encountered a lot of difficulties in the artistic community, including with my own colleagues. There was even an article with the headline: “Katiana Milfort's buttocks...”—I don't remember exactly, but what stood out was my buttocks. There was that article and others. Despite everything, it was a wonderful experience. I think the art world in Haiti is a real arena, complex and sometimes ruthless. Today, I understand things that way. But at the time, I was very scared and stressed, even though I was motivated and fully committed. So, it was good despite everything.

EA: Do people still remind you today that “okay, you were naked on stage once”?

KM: Oh yes, all the time. All the time, all the time... Some people make jokes: “Oh, I know the pussy.” (laughs) But no, you see, you didn't see anything. Okay, I didn't see much, but I get the idea. I had to say it the way they say it. You have to respect it, you have to give credit. But otherwise, it taught me a lot and I'm still learning.

EA: Earlier you mentioned that you were beaten by your partner. So you suffered physical and psychological abuse. Did that affect your life as an artist? Did it cause you problems in the art world?

KM: Yes, a lot. I was beaten, humiliated, and abused by my ex-partner, Miracson Saint-Val, who is a director and actor. I was abandoned by the art world. Between the beatings, the humiliation, and the insults of all kinds that I received from him, and the betrayal I suffered from the artistic community—especially from certain feminists in Haiti—I don't know today which is harder. They preferred to maintain their relationships with Miracson Saint-Val because they had contracts together. They had activities together. That's one thing. The second thing is that since they had never said anything about me during the whole time I was being beaten, long before I left my ex-partner, it became more difficult for them to say that they had witnessed it. If they said so, they had a lot to lose. So it was up to me to keep quiet, to understand that “it happens.”

One of these feminist actresses even said to me, “It's okay, Katiana.” In fact, she called him Micky... "It's okay. I think you're the problem. You can see everything that's happening to you." Between the beatings, the humiliation, the insults I suffered from my ex-partner Miracson Saint-Val, and the betrayal, this witch hunt they put me through, that this community put me through, I don't know what's harder. I've lost contracts. Since I started speaking out against Miracson Saint-Val, I've lost contracts, friends, a lot of work, opportunities. Yes, my career has taken a huge hit, a massive blow.

EA: I understand. And how did you get out of it?

KM: I'm not out of it yet. I'm still at the stage of justice and injustice. But it'll be okay.

EA: Given that you suffered such violence, and that today many women are beaten by their partners in their own homes, what advice would you give them?

KM: Advice? There's a lot to say. Above all, I would encourage them to leave. It's true that when you're in that situation, you're being manipulated, and you're not yet aware of what you're going through. For some women, their friends or family encourage them, but they remain frozen. They get beaten, over and over again. That wasn't the case for me. The first time Miracson hit me, it was clear in my mind: we were even. He was no longer my man, no longer my partner, no longer my love. He was just a human being I no longer recognized in my home. Since we lived together, I had to leave at all costs. But at the time, I was involved in two projects. One with him, in which I had invested a lot, and another with Gaëlle Bien-Aimé. I had to finish these projects and fulfill my responsibilities before leaving home. So I had to stay.

At first, I wondered: had he gone mad, or was it me? Because I was the one who had pushed him to direct his first play. I saw the talent in him, I encouraged him. I thought maybe he wasn't cut out for it, that he had cracked. It took me a while to understand. Not only did I have to manage my finances, but also all the responsibilities associated with these two projects. Yet, in my mind, it was clear: this was a human being I no longer recognized. But many women remain frozen. They take a long time to free themselves from this person.

I would like to tell them: even if it's incomprehensible, even if it's hard, leave! Seek help. Leave! Run far away! And pray. Leave, run far away from this person. Because someone who loves you won't hit you. Someone who understands you, who is there for you, will not put you in a situation where you have to cry. Otherwise, you cry together, because you are dealing with a difficult situation together. But someone who puts you in a position where you have to cry, where you feel that you need help but they don't... run, don't stay. Seek help elsewhere. Don't stay.

EA: So, what other challenges have you faced in your artistic career?

KM: Challenges? Every day is a challenge. In Haiti, the first challenge is simply staying alive. That's huge. Just leaving my house to come and do this interview with you is a challenge in itself. Finding a contract, especially for me, is a huge challenge. Making a living from this profession, from this talent that I have, is a challenge. Meeting people to talk to is also a challenge. Whether it's for a creative project, a philosophical discussion, a political discussion, or just to have a good time with someone, it's always a challenge. I've always had obstacles to overcome. Really, every step of the way. And so far, I'm still here. I think maybe I'm handling it pretty well.

EA: Very good! How do you perceive the evolution of roles for women in cinema, theater, or even television?

KM: There has been a lot of progress. Before, women were limited to certain archetypes: the devoted mother, “the femme fatale”, the damsel in distress. Today, they are portrayed with much more nuance and depth. They embody multidimensional characters. Women now play powerful roles: they are business leaders, politicians, and figures of resistance. We are also seeing the emergence of female directors, screenwriters, and playwrights. The stories being told are more nuanced and authentic because they bring a female perspective. What's more, women of all ages, body types, and ethnic backgrounds are now playing leading roles.

EA: What attracts you to playing a character?

KM: For me, playing a character is about educating. It's a lot of work and a lot of responsibility. First of all, you take someone else's words and make them your own. You transform their joys into your joys, their sorrows into your sorrows, their life into your life. After all that work, you spend an hour with people who don't know you, who don't know that character. And you share that experience, that story, that adventure with them. That's what playing a character is all about: a lot of responsibility, a lot of discipline, and above all, a lot of love.

EA: You have worked with several directors, such as Dieuvela Étienne, Daniel Marcelin, Pietro Varrasso, and Michelle Lemoine. Who did you enjoy working with the most? And why?

KM: First of all, Daniel Marcelin was not only my director, he was my mentor and my teacher. I enjoyed working with everyone. There isn't one director I enjoyed working with more than another. Each director brings their own world, their own “package.” Yes, there are projects I liked less... In fact, I don't like commissions, but you have to do them. I don't like commissioned shows, imposed projects, but sometimes it's necessary. Otherwise, each director comes with their own universe and immerses you in it. You travel, you learn, you discover, you produce, and then you come out of it. Because you don't go in to stay there: if you stay, you don't learn anymore. That's why I'm telling you that with every experience, with every collaboration with a director, I was happy. Yes, I was happy.

EA: Was there anyone you particularly disliked working with?

KM: Disliked? No. No. But there was one director who shocked me. It wasn't even me who was involved, but another actress. I found him very, very disrespectful and too focused on money.

EA: Very disrespectful, you say. Did he do anything in particular?

KM: It wasn't even me. He had done something very unhealthy to an actress. And I said to myself: this is not a director I'm going to work with. That's for sure. Because the directors I've worked with all have their faults, but I've learned a lot. I wasn't shocked, I wasn't mistreated. There are directors who can mistreat you in their approach to learning. But I wasn't mistreated, I learned a lot. Besides, I'm a sponge. I'm a sponge, and I haven't had any major difficulties with directors. Of course, we've been through difficult times: long days at work, fatigue, all that. But traumatized to an extreme degree, no, never.

EA: Awesome! So, how do you prepare to play a complex or emotionally demanding role?

KM: Time. Time, and more time. When I say time, I mean all the learning. That means getting to grips with the script, understanding the script—I'm talking about the desk work here. Understanding the script, making it your own, making the words your own. It takes time to discover the character, to live them. It also means accepting that there will be times when you don't agree with them. So you agree to disagree. You understand their pain, their happiness, you experience their doubts, you come to terms with the whole thing. Bringing a character to life takes time, it takes time. But in any case, you end up finding a solution, you end up agreeing.

EA: So, what has been the most memorable moment of your career so far?

KM: Oh no, no... every moment is memorable. No, no, no. Just like you were talking about my first show earlier, L'élection d'Alexandre Sutto. It has its own flavor. I could say it's like fish, and my show... which show? Le retour qui vient is a sauce made from guinea fowl, weighed bananas, with lots of fingers in it. I don't know how to describe my experiences in cinema. Sunday, January 4, it's maybe... what do you call that meat? It escapes me. In any case, every experience, every moment I've lived on stage, every moment I've lived on set, up to today—whether behind the camera or in front of it—for me, it's memorable. For me, it's an incredible opportunity to be able to do what I love in this difficult world. In this impossible country, it's an honor to be able to say what you think, or to be able to say what others think quietly, but to say it out loud. Every experience, every adventure on stage or in a project, for me, is memorable.

EA: Is there a role you would like to play, one you haven't played yet but dream of playing?

KM: Oh yes, oh yes! I would have liked to play an autistic character. Yes, really. I would have liked to play an autistic character, I would have liked to play a pastor. Oh no, I swear, I would have liked that.

EA: A pastor?

KM: Oh yes! A Haitian pastor or an African-American pastor, but a pastor. A true Christian pastor, a devout Christian. I would have liked to, because these pastors are talented, I really like them. They are inspiring people.

EA: My God!

KM: Blessed, inspiring, and blessed.

EA: I'll make a note of that.

KM: I would have liked to play a nun too. Lots of things, lots of things.

EA: Do you have any other passions besides theater and cinema?

KM: Besides theater and cinema? Painting. I love painting.

EA: So you're a painter?

KM: No, I'm not a painter, but I would have liked to be one too.

EA: So, the last time you were on stage was in 2022. Since then, the public has been waiting for you, you've disappeared. Do you have any plans for an upcoming show?

KM: Yes, yes, if the country wants it, if the leaders want it. I'm always ready. If I can find funding, I can do it tomorrow. Of course, I'm currently working on a show. It will be another monologue. I hope to have news about this project soon, but for now I'm keeping it private. What I can say is that yes, it will be a monologue, and I will be accompanied by a superb singer (woman) and an excellent musician. That's it.

EA: Excellent! Would you like to send a message to your viewers or fans?

KM: A message? No! I would simply tell them to hang in there. Because today, we are facing unchecked human and social decline. We don't know how we're going to wake up tomorrow, how the country is going to wake up, how we're going to get from one crossroads to another. And then, how can an artist evolve in a space that is always based on improvisation? You see, it's difficult. Not just for an artist: regardless of skill or field, everyone is improvising. Everyone is in a state of irrational instability. Even our health is deteriorating. All I can say is: hang in there. Hold on to the people you love, hold on to the things you really love. Hold on to anything that can keep you alive. And keep dreaming, because it feels good.

EA: Thank you, Katiana, for coming on my show. Thank you for accepting my invitation. It was an honor to have you here.

KM: Thank you, I'm glad I could be here. Thank you very much. Thank you to the whole team.

EA: I hope the audience enjoys this moment you've just shared with us. Thank you, Katiana, thank you to the whole team. Kisses, kisses…