The purpose of the African Women in Cinema Blog is to provide a space to discuss diverse topics relating to African women in cinema--filmmakers, actors, producers, and all film professionals. The blog is a public forum of the Centre for the Study and Research of African Women in Cinema.

Le Blog sur les femmes africaines dans le cinéma est un espace pour l'échange d'informations concernant les réalisatrices, comédiennes, productrices, critiques et toutes professionnelles dans ce domaine. Ceci sert de forum public du Centre pour l'étude et la recherche des femmes africaines dans le cinémas.

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Director/Directrice, Centre for the Study and Research of African Women in Cinema | Centre pour l'étude et la recherche des femmes africaines dans le cinéma

12 December 2019

Suicide by Sunlight (2019) a horror film by Nikyatu Jusu on Vimeo

Suicide by Sunlight a horror film by Nikyatu Jusu on Vimeo

Suicide by Sunlight (2019, the 17-minute film is about Valentina, a day-walking black vampire, forced to restrained her blood-lust in order to regain custody of her estranged daughters. She must repress who she is in order to become a normal member of society.

Inspired by the late science-fiction novelist Octavia Butler, Sierra Leonean American filmmaker Nikyatu Jusu is influenced by Sierra Leonean and West African mythology. Her interest in telling the story of a black vampire came from her desire "to explore what it would be like to turned that disenfranchisement upside down and essentially remix the vampire mythology." (Source: Youtube interview Sundance Institute Shorts Competition - U.S. Narrative Shorts Competition at the 2019 Sundance Film Festival) https://www.youtube.com/watch?v=L6GVo6dl5vQ


SUICIDE BY SUNLIGHT from NIKYATU on Vimeo.

10 December 2019

Ekwa Msangi: "Farewell Amor" selected at Sundance 2020

Ekwa Msangi: "Farewell Amor"
selected at Sundance 2020

SYNOPSIS
Farewell Amor / U.S.A. (Director and screenwriter: Ekwa Msangi, Producers: Huriyyah Muhammad, Sam Bisbee, Josh Penn) — Reunited after a 17 year separation, Walter, an Angolan immigrant, is joined in the U.S. by his wife and teenage daughter. Now absolute strangers sharing a one-bedroom apartment, they discover a shared love of dance that may help overcome the emotional distance between them. 

BIO
Ekwa Msangi has written & directed several shorts, most recently award-winning comedy Soko Sonko (The Market King), recipient of the Ousmane Sembene Short Film Development award, which produced her short film Farewell Meu Amor starring Tony Award nominee Sahr Ngauja, and actress Nana Mensah of the famed series An African City.

Maïmouna Doucouré: « Mignonnes » selected at | sélectionné à Sundance 2020

Maïmouna Doucouré: « Mignonnes »
selected at | sélectionné à
Sundance 2020

SYNOPSIS
English
Eleven-year-old pre-teen Amy discovers in her new elementary school a group of dancers called: “Les Mignonnes”. Fascinated, she begins a sexy dance, the twerk, hoping to join their band and escape a family upheaval.

Français
Amy, 11 ans, rencontre un groupe de danseuses appelé : « Les Mignonnes ». Fascinée, elle s’initie à une danse sensuelle, dans l’espoir d’intégrer leur bande et de fuir un bouleversement familial.


BIO
English
Maïmouna Doucouré won the Global Filmmaking Award at the Sundance Film Festival in 2017 for the screenplay of her first feature Mignonnes, and Maman(s) – claimed the Grand Jury Prize in 2015. 

Français
Maïmouna Doucouré revient à Sundance après un Prix du Jury en 2016 pour son court métrage Maman(s), puis le Global Filmmaking Award, en 2017, pour le scénario de Mignonnes, son premier long métrage.

22 November 2019

Cineastes Non-Alignées (Non-aligned Women Cinéastes Collective) : La représentation de la femme d'Afrique et de la diaspora | Representation of women in Africa and the diaspora : (Le festival international du film d'Amiens 2019)

Cineastes Non-Alignées 
Non-aligned Women Cinéastes Collective : 
La représentation de la femme d'Afrique et de la diaspora | 
Representation of women in Africa and the diaspora :  
Le festival international du film d'Amiens 2019

La représentation de la femme d'Afrique et de la diaspora, le 22/11 à 10h maison de la culture Amiens - Le Festival international du film d'Amiens

English translation soon


21 November 2019

The Africa Women Filmmakers Trust (AWFT): Using participatory media in development communication

The Africa Women Filmmakers Trust (AWFT) Using participatory media in development communication

The Africa Women Filmmakers Trust (AWFT), created in 1992 by founding members Tendai Munawa, Rebecca Kapenzi and Chido Matewa, works to advance gender equality and justice through the use of information and communication technologies by facilitating content production and dissemination that supports girls, women and disadvantaged communities to take informed choices. 

Taking into cognizance that information communication technologies are a gendered tool, AWFT strives to address imbalances in the access and use of ICT’s hence the adoption of the participatory approach which is empowering to its subjects, giving them a voice hence becoming protagonists of their own development.

The AWFT website provides important resources for those interested in deepening their knowledge of empowerment through participatory media. In addition, it presents AWFT ongoing and completed projects, testimonies and other useful information. 

Chido Matewa’s doctoral thesis entitled "Media and the empowerment of communities for social change" (2002) PDF, which makes a case-study on the Zimbabwean-based Africa Women Filmmakers Trust, offers further research on the important role that media women have played in the use of communication technologies as a tool for empowerment.

07 November 2019

A Fool God, un/a film de/by Hiwot Getaneh - Analyse/Analysis par/by Djia Mambu (Africine.org)

A Fool God, un/a film de/by Hiwot Getaneh - Analyse/Analysis par/by Djia Mambu (Africine.org)

Source: africine.org. Publ: 27/09/2019
Translated from French by Beti Ellerson, an African Women in Cinema Blog collaboration with Africine.org


Ethiopian director Hiwot Getaneh returns to the Toronto International Film Festival (September 5-15, 2019) with her short film A Fool God, where she delves into the world of a little girl in deep reflection about guilt.

A Fool God explores the universe of Mesi, who seeks to exculpate herself from the condemnation of her grandmother for having cut off the head of a hen, a ritual reserved for men, and hence should have been done by her brother. While Mesi thinks she has done well in trying to help the latter who did not succeed, her grandmother holds her responsible for the death of her mother, who dies afterwards. As a sign of mourning, the grandmother shaves Mesi's head and takes the opportunity to recount a time-honored classic tale: the guilt of a poor farmer who steals from his uncle and then goes to God, asking for forgiveness. In order to prove her good faith to her grandmother, every chance she gets Mesi reinterprets the tale in her own way. Can we do wrong if our intention is good? Why blame someone who has committed an act in good faith? For Mesi, the one who condemns is a fool; and God included, if he does not pardon the condemned person.

The cinéaste Hiwot Getaneh once again puts a child at the forefront inviting us to openly question ourselves beyond all the influences impregnated by our environment, as well as our own values: faith, culture, justice, solidarity, etc. As in her previous film New Eyes where a young girl having just reached puberty begins to develop sensual feelings and desires, after witnessing a couple in amorous embrace, we are led to observe the unfolding of an innocent body and pure spirit.

The Ethiopian director takes as a starting point an original story that her grandmother recounted often when she was growing up and that she liked a lot. Moreover, Hiwot Getaneh recalls that as a child, she often accompanied her grandmother to the pension fund distribution centre, very common in a country where parents, mostly widows and mothers, go to collect the pension of a husband or soldier son who has disappeared--as we see Mesi accompany her grandmother.

A Fool God takes us back to our youth where we saw our unrestrained acts being corrected by adults, where we were confronted by prohibitions and where we had to evaluate our judgments; which we finally understood, only when we became adults.

***
A Fool God,  un film de Hiwot Getaneh
Djia Mambu,
Toronto, Septembre 2019

La réalisatrice éthiopienne Hiwot Getaneh revient au Festival International de film de Toronto (5-15 septembre 2019) avec son court métrage A Fool God où elle questionne l'univers d'une petite fille en pleine réflexion sur la culpabilité.
Version originale en Français. Lire l’article en intégralité sur http://africine.org/?menu=art&no=14767


04 November 2019

Mame Woury Thioubou: "5 étoiles", un récit sur la désillusion de l’exil | a story about the disillusionment of exile: Analyse/Analysis de/by Fatou Kiné Sène

Mame Woury Thioubou: "5 étoiles", un récit sur la désillusion de l’exil |  a story about the disillusionment of exile: Analyse/Analysis de/by Fatou Kiné Sène

Source : aps.sn


5 Etoiles by Mame Woury Thioubou (2019)
Tunisia, Oct 31 (APS) - The short film 5 Étoiles by the Senegalese Mame Woury Thioubou, screened Wednesday at the City of Culture in Tunis, as part of the 2019 edition of the Journées Cinématographiques de Carthage (JCC, 26 October-2 November), deals with "the disillusionment of exile", subtly bringing emigrants to realise their own precariousness in order to better talk about the issue.

The film highlights the lives of African migrants in Lille, France in order to bring these "undocumented migrants" to the realisation that after braving the desert and the sea to arrive in France, Europe is only the beginning of their ordeal.

"The film does not tell young Africans not to leave, but what I want them to know" is that Europe "is not going to be the end of the ordeal, that it is the beginning of a new struggle," said the director.

Mame Woury Thioubou had always wondered about the motivation of these young people who choose to leave the African continent for the West. Her cinematographic approach, hence, leads her on an inquiry into these young migrants' journey through the Sahara desert—for those leaving from Mali or Guinea.

Obviously, she evokes the horrors suffered by migrants from the Libyan route evident by the difficult experience of crossing the Mediterranean.

Far from knowing the epilogue of this ordeal once in Europe, in reality, it is only the beginning.

The director gives pride of place to the protagonists of the film who make a self-analysis of their precarious situation. Her camera insists on the faces, the feet, but especially their "5 Étoiles (tr. star), an old insanitary factory, a squatting place for the migrants.

Mame Woury relates their difficult living conditions in their struggle for "dignity" in the face of ordinary racism and daily humiliation.

The subject also reveals, through its reference to history, by way of a reminder that the issue of migration is not a new subject and has marked and transformed the lives of all human societies.

Mame Woury Thioubou illustrates this point with a focus on the statue of Faidherbe, one of the architects of colonisation in Senegal, and who in Lille is seen as a positive figure celebrated at the Republic Square, in this French metropolis where the "sans-papers" (the undocumented) rally each week.

Through this approach the director also challenges the French, inviting them to look in the mirror.

"This movement by these migrants, Faidherbe has already done by coming to our country without authorisation. Yet today, when our young people want to go to the West, barriers are imposed on them. I also want the French to see themselves and to question themselves,” says the director.

Biography | Biographie

Mame Woury Thioubou was born and raised in Senegal. After a MA in geography at the University Cheikh Anta Diop in Dakar and a diploma in journalism at the University of St. Louis, Senegal. She is a journalist/reporter at the newspaper "Quotidien" and for the company Avenir Communication, and technical assistant for Programme Agenda 21 in the city of Matam.

In 2009, she decided to return to her studies continuing in the area of journalism but from a more artistic approach by engaging in creative documentary filmmaking, now considered a genre in itself. She enrolled in the Master II Réalisation de Documentaire de Création  (Creative Documentary Filmmaking) at the University Gaston Berger in St. Louis (Senegal), under the tutelage of Africadoc.

***

Mame Woury Thioubou est née et a grandi au Sénégal. Après une maîtrise de géographie à l’Université Cheikh Anta Diop de Dakar et l’obtention d’un diplôme en Journalisme à l’Université de Saint-Louis du Sénégal, elle devient Journaliste/reporter au “Quotidien”, pour la société Avenir Communication et assistante technique du Programme Agenda 21 de la Ville de Matam. 

En 2009, elle décide de reprendre ses études et complète son point de vue journalistique par une approche plus artistique en se lançant dans le documentaire de création, aujourd’hui considéré comme un genre cinématographique à part entière. Elle suit ainsi le Master II de Réalisation de Documentaire de Création à l’Université Gaston Berger de Saint Louis (Sénégal), formation sous la tutelle d’Africadoc.