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.

22 May 2017

Wild Track Newsletter #24 May 2017 about African women in cinema in Zimbabwe

Wild Track Newsletter #24 May 2017 about African women in cinema in Zimbabwe

The Wild Track Newsletter is published by the Institute of Creative Arts for Progress in Africa (ICAPA TRUST) 

The Wild Track Newsletter covers information, issues and events relevant and related to African women in cinema in general and specifically those from Zimbabwe, including coverage of the International Images Film Festival for Women (IIFF), the annual film festival which takes place in Zimbabwe. In addition, it covers gender related arts-based activities in the Zimbabwe area.

Back issues are also available on the ICAPA Trust site: Issue 23, Issue 22, Issue, 21, Issue 20, Issue 19, Issue 18, Issue 17, Issue 15, Issue 14, Issue 13, Issue 12, Issue 11, Issue 10, Issue 9, Issue 8, Issue 7.

21 May 2017

Nneka Onuorah launches a crowdsourcing campaign for “Rotten Fruit” film project

Image: Rotten Fruit Indiegogo Page
Nneka Onuorah launches a crowdsourcing campaign for “Rotten Fruit” film project

Visit the Rotten Fruit Indiegogo Page for details about the crowdsourcing efforts and to make a contribution.

About The Project

Rotten Fruit centers on the relationship between the LBGTQI community and the attitudes of the Black Church in the United States.

According the crowdsourcing page, Nneka Onuorah plans to explore the following topics:

- History of Church Institution and Slavery
- Gay Civil Rights VS Black Civil Rights
- Projected patriarchy onto LGBT
- Elitism
- Ironic sexism in the black church
- Cognitive Dissonance
- Emotional Repression
- Molestation
- Measurement of sins
- Similarities between the ideology of the black church and White Supremacy
- Contract between church and U.S Politics 

20 May 2017

Claire Diao : Double Vague, le nouveau soufflé du cinéma français (Double wave, the new energy of French cinema) 2017

Claire Diao : Double Vague, le nouveau soufflé du cinéma français (Double wave, the new energy of French cinema) 2017

L’attribution de la Caméra d’or à Houda Benyamina en 2016 pour Divines a braqué les projecteurs sur ces réalisateurs de double culture grandis dans les quartiers populaires, souvent autodidactes et déjà auréolés de prix internationaux. Pour en finir avec les clichés sur « le cinéma de banlieue », plus de cinquante réalisateurs parmi lesquels Alice Diop, Maïmouna Doucouré, Rachid Djaïdani, Djinn Carrenard, Franck Gastambide, Jean-Pascal Zadi… s’expriment ici. Une génération montante qui, affranchie de la Nouvelle Vague, incarne un nouveau souffle du cinéma français, audacieux, réaliste et surtout très divers. Riche d’une centaine d’heures d’interviews, cette enquête journalistique conduite sur dix ans leur donne enfin la parole.

The 2016 Caméra d’or Award for the film Divines by Houda Benyamina has put the spotlight on those bi-cultural filmmakers who grew up in working-class neighbourhoods, often autodidact and already crowned with international prizes. Putting an end to the clichés of "the cinema of the banlieue" (housing estates, immigrant neighbourhoods), more than fifty directors express themselves, including Alice Diop, Maïmouna Doucouré, Rachid Djaïdani, Djinn Carrenard, Franck Gastambide, Jean-Pascal Zadi. An up-and-coming generation, liberated from the New Wave, represents a new energy of French cinema: audacious, realist and above all very diverse. With a hundred hours of interviews, this ten-year journalistic exploration gives them, finally, a voice.

Claire Diao ©FIFF/Yoann Corthésy

Claire Diao est une journaliste et critique de cinéma franco-burkinabè, à l’initiative du programme Quartiers Lointains, la revue Awotélé et la société Sudu Connexion.

Claire Diao is a Franco-Burkinabe journalist and film critic, at the forefront of several initiatives: the Quartiers Lointains programme, the journal Awotele and Sudu Connexion.

Links | Liens

19 May 2017

African Women in Cinema Blog: Updates | Actualités 19-05-2017

African Women in Cinema Blog
Updates | Actualités
19 – 05 – 2017

Content | Contenu :

African Female Filmmakers
Rungano Nyoni
June Givanni
Claire Diao, Aset Malanda, Nina Melo,Josza Anjembe,
Jihan El-Tahri

African Female Filmmakers
The Centre for Film Studies (SOAS) 3rd Postgraduate Symposium: 'Global Cinemas Speak Back'. 31 May 2017. Centre for Film Studies.
Todun Joseph: Female Representation by Female Filmmakers in Nollywood Films
Robin Steedman: Negotiating Transnational Circuits of Screen Media: Nairobi-based Female Filmmakers and World Cinema

Rungano Nyoni
Cannes First-Look: Rungano Nyoni's Buzzy Feature Debut, 'I Am Not a Witch'. Tambay Obenson. 19 May 2017. Shadow and Act.

June Givanni
Black Film British Cinema Conference-University of Greenwich. 18-19 May 2017. UnivGreenwich

Claire Diao, Aset Malanda, Nina Melo,Josza Anjembe
Le Grand Débat: Un autre visage du cinema français. 17 mai 2017. Africa1

Jihan El-Tahri
La cineasta egipcia Jihan El Tahri propone recontextualizar el continente a través de películas. 8 May 2017.


18 May 2017

A conversation with Twiggy Matiwana | Une conversation avec Twiggy Matiwana - South Africa | Afrique du Sud

©Twiggy Matiwana
A conversation with Twiggy Matiwana and Beti Ellerson, April-May 2017

Une conversation avec Twiggy Matiwana and Beti Ellerson, avril-mai 2017

Twiggy Matiwana of South Africa was the laureate of the Silver Poulain the European Union and ACP special prize at Fespaco 2017 for her short film The Bicycle Man. The film is part of the Short Film Corner at the Cannes Film Festival.

La sud-africaine Twiggy Matiwana est lauréate du Poulain d'argent et du Prix spécial Union européenne et ACP au Fespaco 2017 pour le court-métrage The Bicycle Man. Le film fait partie du Short Film Corner à la 70e édition de Cannes.

English [Français ci-après]

Twiggy, I want to first congratulate you on the Fespaco 2017 Best Short Film award for your film The Bicycle Man ! Before discussing the film could you talk a bit about yourself, how you came to cinema?

Thank you Beti, I am woman from a small town called Grahamstown, who has dreamt of making films at a very young age. I used to do acts at a Sunday school. My mom used to say to me that if I had not ruined my teeth by sucking my thumb I would have become a singer. I then thought maybe I should write songs for others who can sing. I had so many journals and music books. I started by writing short poems and short stories.

What were your experiences with the moving image when growing up in South Africa? 

I used to spend my afternoons glued on the television screen, watching Huckleberry Finn, which was a great tale story for me, and our proudly South African film called There’s a Zulu on My Stoep and, back then as far as I can remember most films were produced by the majority of white people in our country. Ramadan Suleman’s films Fools and Zulu Love Letter, and Zola Maseko’s Drum were hard to access. Till this day cinema in my hometown is unknown. You can only experience the big screen in big cities. 

Could you discuss your other films, themes, choices and intentions?

Still from The Bicycle Man
So far my major focus has been on social issues, women abuse, stories regarding health. I use themes such as societal stereotypes and curiosity in humans. My intentions are merely to educate those who lack knowledge regarding these themes.

The Bicycle Man shows a sensitive side of the manner in which a man deals with what is generally viewed as a woman’s illness: breast cancer. Talk about why you chose this theme and decided to tell the story in this way.

Cinema is a great tool when it comes to telling a story. I had to make sure that I show those symbols with strong visuals and also not scare people, instead make them understand how things work and how to solve problems.

What have been the responses from the viewers? Men and women?

Still from Bicycle Man
Both men and women still don’t believe that men can have breast cancer; the film has been an eye-opener for them.

Attending Fespaco 2017 was a first experience for you. I was able to follow a bit of your journey there via social media. It appears that you made some productive connections and useful contacts.

Ouaga was amazing, even though Fespaco was a bit frustrating at times because of the language barrier; winning best short film has brought me greater opportunities. I’ve made connections all around the world. The film is now screening in Angers in France; I will be attending Cannes Film Festival for the first time in my life. The Bicycle Man has made it to the Cannes Short Film Corner and it’s in the Cannes Catalogue, wow. I’m truly grateful to everyone who made this film possible. 

Some future plans?

I’m trying to get a writing residency in France or London so I can complete my feature script. After my trip to Europe in May 2017 I will be directing a short film in June, a new slate from National Film and Video Foundation in association with Natives At Large producing ten more films from Youth Filmmakers Project 2016. 


Twiggy, Tout d'abord je tiens à te féliciter pour le prix du meilleur court métrage du Fespaco 2017 ​​pour ton film The Bicycle Man (L’homme à la bicyclette) ! Avant de discuter du film, peux-tu nous parler un peu de toi-même, comment es-tu venue au cinéma?

Merci Beti, je suis une femme d'une petite ville appelée Grahamstown, qui a rêvé de faire des films dès le plus jeune âge. J'avais l'habitude de faire du théâtre à l'école du dimanche. Ma mère me disait que si je n'avais pas abîmé mes dents en suçant mon pouce, je serais devenue chanteuse. Je pensais alors que peut-être je pouvais écrire des chansons pour ceux qui peuvent chanter. J'avais tant de journaux et de livres de musique. J'ai commencé par écrire des courts poèmes et des nouvelles.

Quels ont été tes souvenirs d’enfance du cinéma en Afrique du Sud ?

Je passais mes après-midi collés sur l'écran de la télévision, en regardant « Huckleberry Finn », qui était pour moi, une conte géniale, et notre film fièrement sudafricain, « There is a Zulu on My Stoep ». Car à l'époque, aussi loin que je puisse me souvenir la plupart des films étaient produit par des Blancs dans notre pays. Les films de Ramadan Suleman : Fools et Zulu Love Letter, et Drum de Zola Maseko étaient difficiles d’accès. Jusqu'à ce jour, les habitants de Grahamstown ne connaissent pas le cinéma. On ne peut voir le grand écran que dans les grandes villes.

Parles nous de tes autres films, les thèmes, et tes choix et intentions.

Jusqu'à présent, j'ai mis l'accent sur les problèmes sociaux, les violences faites aux femmes, les histoires par rapport à la santé. J’emploie des thèmes comme les stéréotypes sociaux et la curiosité chez les êtres humains. Mes intentions sont simplement d'éduquer ceux qui n’ont pas de connaissance sur ces sujets.

The Bicycle Man montre un côté sensible de la manière dont un homme traite de ce qui est généralement considéré comme une maladie de femme: le cancer du sein. Pourquoi ce thème et ton choix de le raconter à cette façon ?

Le cinéma est un excellent outil lorsqu'il s'agit de raconter une histoire. Je pensais qu’il était important de montrer ces symboles avec des images fortes sans effrayer le public, de lui faire comprendre comment les choses fonctionnent et comment résoudre des problèmes.

Quelles ont été les réponses des téléspectateurs? Les hommes ainsi que des femmes?

Les hommes et les femmes ne croient toujours pas que les hommes peuvent avoir un cancer du sein; le film a été certainement une découverte pour eux et pour elles.

Participer à Fespaco 2017 a été une première expérience pour vous. J’ai pu te suivre via les médias sociaux…Facebook, Twitter…Il semble que tu as pu faire de réseautage productif.

Ouaga était incroyable, même si Fespaco était un peu frustrant parfois à cause de la barrière de la langue. Être primée pour le meilleur court-métrage m'a apporté de plus grandes opportunités. J'ai fait des contacts partout dans le monde. Le film est actuellement en projection à Angers en France et je participe au Festival de Cannes pour la première fois de ma vie. The Bicycle Man fait partie du Cannes Short Film Corner et donc se trouve dans le catalogue de Cannes, incroyable ! Je suis vraiment reconnaissante à tous ceux qui ont rendu possible la réalisation de ce film.

Quelques projets futurs?

J’espère d’être sélectionnée pour une résidence d'écriture en France ou à Londres afin que je puisse compléter mon scenario pour un long métrage. Après mon voyage en Europe en mai 2017, je vais réaliser un court métrage en juin, pour un nouveau calendrier de la National Film and Video Foundation en association avec Natives At Large pour produire dix autres films du Youth Filmmakers Project 2016.

Traduit d'anglais par Beti Ellerson | Translation from English by Beti Ellerson

Call for Submissions : CaribbeanTales and Durban FilmMart Join Forces to Support African Women Filmmakers - 2017

Call for Submissions : CaribbeanTales and Durban FilmMart Join Forces to Support African Women Filmmakers - 2017
CaribbeanTales and the Durban FilmMart present CineFAM - Africa, an accelerator program for African women filmmakers
For Immediate Release: May 17, 2017
Durban, South Africa
Toronto, Canada
CaribbeanTales Media Group (CTMG) and the Durban FilmMart (DFM) today announce a new partnership to support the development of original serialized television content created by women from Africa and the African Diaspora.
CineFAM is an initiative of CaribbeanTales to support bold original films by women of colour worldwide. “Cinefam” in the Haitian-Creole language means “films by women”. This Accelerator aims to build capacity and creative leadership among women of colour who are underrepresented in leadership roles. 
“We are absolutely thrilled to embark on this new partnership with CaribbeanTales. The Accelerator Incubator Program will provide an exciting new platform to support the development of women-led audio-visual content in Africa, and promote more representational narratives. Through this partnership, we hope to build a bridge between the two organisations that will raise the voices of African women filmmakers,” said Toni Monty, Head of Durban Film Office and DFM the co-production and finance market, which is a joint programme of the Durban Film Office (DFO) and the Durban International Film Festival (DIFF), South Africa.
“CaribbeanTales was founded and run by women of color from the Caribbean and African Diaspora so this initiative is close to our hearts. This partnership provides an unprecedented platform and opportunities for South African, African and African Diaspora women film producers,” says CaribbeanTales CEO Frances-Anne Solomon. “Africa is a natural partner for us in the Caribbean and we couldn’t be more pleased to be building a relationship with DFM to bring our Incubator Accelerator program to Africa!”
CineFAM - Africa, which will be led by CaribbeanTales Vice-President Nicole Brooks, is a two-day program that will take place during the Durban FilmMart July 14 to 17, 2017.
For this first edition of CineFAM - Africa, South African women producers and African women producers living in South Africa are invited to submit their film projects of original serialized television content for consideration. A total of five projects will be selected, and entered into the program to be held at DFM exposing participants to CaribbeanTales’ accelerator unique process including a great overview and guide on how to create the basis of story, marketing, pitching and financing.
The accelerator will culminate in a Mini-Pitch. The winner will qualify to participate in the renowned CaribbeanTales Incubator (CTI), in Toronto, Canada. CTI is a year-round development and production hub for Caribbean and Caribbean Diaspora Producers that aims to create strong, compelling and sustainable content for the global market. The CTI's goal will increase the pool of world-class indigenous film and television content and build the Region’s audio-visual capacity.
Call for Submissions is open NOW!
Submissions closes June 16th, 2017

CaribbeanTales is a group of companies that produces, markets, and sells Caribbean-themed film and television content for global audiences.
It includes CaribbeanTales Inc. a registered Charity based in Toronto, Canada; the Caribbean-Tales International Film Festival (CTFF) that produces events around the world; the renowned CaribbeanTales Incubator Program, a development and production hub for original Caribbean content; CaribbeanTales Worldwide Distribution (CTWD), the largest  full-service distribution entity dedicated to the monetisation of Caribbean content; CaribbeanTalesFlix, our production arm, and CaribbeanTales-TV, a video on demand platform.
The Durban FilmMart (DFM) is a co-production and finance market and is a joint programme of the Durban Film Office (DFO) and the Durban International Film Festival (DIFF). DFM provides filmmakers from across Africa with a valuable opportunity to pitch projects to financiers, distributors, sales agents and potential co-producers, and to participate in meetings, project presentations and a series of master classes and workshops on the latest industry trends.