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.

19 July 2018

Clarisse Muvuba : The Cinef, women who dare | Le Cinef des femmes qui osent - Interview/entretien by/par Wendy Bashi

Clarisse Muvuba ©imagesfrancophones.org : DR
Clarisse Muvuba : The Cinef, women who dare | Le Cinef des femmes qui osent - Interview/entretien by/par Wendy Bashi

Interview with Clarisse Muvuba, director of the Cinéma au Féminin Festival (CINEF, Kinshasa) | Entretien avec Clarisse Muvuba, directrice du festival Cinéma au Féminin (CINEF, Kinshasa) by/par Wendy Bashi. Africiné Magazine, Bruxelles -Images Francophones. 06 July 2018.
Image credit: DR


After a pause of a year and a half, the festival Cinéma au Féminin Kinshasa (CINEF) has returned.

From 10-15 July, the Congolese capital vibrated to the rhythm of this great cinematic encounter. For its fourth edition, Cinef innovates. A meeting with Clarisse Muvuba, director and founder of the event.


Clarisse Muvuba, next week the fourth edition of Cinef, Cinéma au Féminin that you created in Kinshasa resumes service. What can you tell us about this fourth edition?

As you said, on 10 July, we will launch the fourth edition of the Cinef [Women’s Film Festival - Cinéf 2018] here in Kinshasa. After a year and a half pause, I am happy to return with a ground-breaking fourth session, which continues in the spirit of the previous editions. This year we have focused on programming. Film production on the continent is booming both in quantity and quality. It is our duty as a festival to highlight all these productions. The Cinef aims to be at the same time a promotional platform for our productions as well as a space for analysis of films and the themes that they highlight.

Tell us about your programming. What did you decide to focus on this year?

From the beginning, my team and I agreed on one point: to show quality films, films that are thought-provoking, that meet the criteria both technically and narratively, but especially films made by women. It was not a simple task. As you can imagine, it is difficult to meet all these criteria. We had to make compromises, we talked a lot about the quality of the films and in the end I think we are proud of our programming. You know, during the period of the call for submissions, we received a lot of films. I take this opportunity to thank all the filmmakers who sent us their films. At one point, there was a discussion about making a selection. While there are a lot of films produced in Africa many of them are not completed. A festival is also an opportunity to be aware of the shortcomings in our productions and propose solutions to overcome the lack or sometimes to make improvements.

What do you propose concretely to Cinef to overcome this deficiency?

In all modesty, Cinef does not claim to be able to rectify all the problems and other concerns that the cinema industry encounters in Africa. Far from it! At Cinef, what we offer are workshops, though, because of the lack of means, the time in which to do so is not sufficient! That said, we try to bring a few filmmakers together during the festival and offer technical advice during the workshops that we propose. Through the whole process of making a film, from the beginning to the end, the director needs to exert strong leadership. You will agree with me that it is not in four or five days that we can train everyone and have convincing results. During the workshops, we invite them to come with their productions. The idea is above all to talk about these projects with more experienced directors and producers. It is designed as a moment of exchange and reflection to move projects forward. Together we identify problems, what could have been done and what needs to be done to improve the film. During these few days we offer some possible solutions with the hope that they may be useful, but again considering time limitations and especially insufficient means. We would need more time for training, because believe me this is where the problem lies!

You talk about having the means for training, what are the resources available to organize this festival?

You touch on a complex question! Culture as a whole suffers from this lack. This experience is critical and flagrant across the continent. I cannot go into the adventures of Cinéf. Though that said, I think it is time for our nations to put in place coherent and effective cultural policies. It is unacceptable and incomprehensible that even today no funds are effectively allocated to culture. In my country, I cannot count the number of initiatives that deserve to be supported but nothing materialises. Culture remains the “poor relative” of all governments. We are left to wonder if, as cultural actors we are the only ones who recognise the expansion of the cultural level, in all sectors, which needs to be supported! From cinema, to music, and the visual arts, the whole sector is just waiting for assistance and funding.

Returning to the Cinef, what are the new features of this fourth edition?

As I noted at the beginning of the interview, we decided to give the festival a fresh start. This year, we have great films like Frontières | Borders by Apolline Traoré, which received awards at Fespaco; Ouaga Girls by Theresa Traoré Dahlberg; or Maman Colonel by Dieudo Hamadi. These are portraits of strong women! This is the message of this fourth edition: to talk about strong women, those who dare!

Apart from that, the biggest new feature is our youth section. Undoubtedly, I am convinced that we must introduce to the younger ones how to read images and to familiarize them with our own productions. Alain Gomis: Petite lumière, Douglas Masamuna [Ntimasiemi]: Mines de rien, which talks about child labour in the mines of Katanga, a very sensitive topic, or Sébastien Maître: Petits meters à Kinshasa. It is important for the younger generations to see the films that are being made locally and whose heroes resemble them.

Then, we tried to design workshops thematically that touch on topics such as women's migration, albinism and the stereotypes around it or afro hair. The common denominator of all these workshops is to be able to open the debate on themes that are at the same time, relatable no matter where in the world you are.

What do you hope for as Cinef approaches?

(Laughs) that everything goes as we envisioned it.

18 July 2018

Interview with Delphine Wil, director of the film "Missionary memories" | Entretien avec Delphine Wil, réalisatrice du film Mémoire de missionnaires - by/de Thierno I. Dia, Africine.org

Delphine Wil ©Neon Rouge Production
Interview with Delphine Wil, director of the film "Missionary memories" | Entretien avec Delphine Wil, réalisatrice du film Mémoire de missionnaires - by/de Thierno I. Dia, Africine.org 27 06 2018. 

In collaboration with Africine.org, translated from French by Beti Ellerson and published on the African Women in Cinema Blog. Image : Neon Rouge Production.


Interview with Delphine Wil, director of the film Mémoire de missionnaires. Her documentary opened the festival Mis me binga 2018, Cameroon

Mémoire de missionnaires “Missionary memories” (2017) is the first documentary film by Delphine Wil. Born in Germany in 1988 fof a Belgian father and a Belgian-Congolese mother, she is a filmmaker whose cultural diversity has shaped her path. She completed her studies in photography at the École de Photographie de la Ville de Bruxelles) and in journalism at the Université Libre de Bruxelles, parallel to filmmaking, she works in the information field in Francophone Africa.

She started her professional career as a radio journalist at the Radio Télévision Belge Francophone (RTBF) before moving to the audio-visual sector. She participated in a video creation workshop in Mons and in Senegal, and afterwards moved to Burkina Faso, where she works with Manivelle Productions. Mémoire de missionnaires (2017) was the opening film of the 9th edition of Mis me binga 2018, International Women’s Film Festival in Yaounde, which was held from 26-30 June 26. The film will travel to several festivals, in Europe and in Congo, with other cultural events to follow.

What motivated the making of a film about missionary memory (rather than a photo series for example or a press article)?

A film is able to mobilize sound and image and to show the behaviour, reactions, and personality of the characters. To me, the combination of all these elements seems important for this project, because it deals with a subject that may be considered sensitive. In my opinion, seeing on screen the engagement of these people at that age tells something in itself. They entrust their truth, in retrospect, as they perceive it today. Some reaffirm the prejudices of the epoch. Others are more critical. My desire was to transmit this ambivalence. To me, it seems necessary to listen to these elders, despite the fact that the information that they relay can be incriminating; because—whether we like it or not—they illustrated history. Photos or a press article would probably not have gone as far in these nuances as a film.

What does it mean for your film to be selected at Mis Be Binga and as the opening film?

It is a great honour for me to be selected at the Mis Me Binga Festival and, moreover, to see it as the opening film of the Festival, which is also the premiere for Mémoire de missionnaires, is a recompense for the work of the entire team. I am also very happy that an African festival has made this choice, because it shows that the film addresses a subject that has made an impact and, hence, it is important to discuss it on the continent. It also demonstrates the double identity of the film, both African and European; and the fact that the festival showcases the perspectives of the women filmmakers within cinematographic creation is also important to me.

The film does not seem to have been programmed at festivals in Belgium and France? Is it a choice on your part or resistance from the programmers?

The film was broadcast on television in Belgium on the RTBF and in France on Lyon Capitale TV and was accessible for two months in both countries, in addition to Switzerland, through the video-on-demand platform [VoD] Tënk. The Belgian company Neon Rouge Production that produced Mémoire de missionnaires continues to send it to many Belgian and French festivals (and beyond). The film will be screened at the Festival des cinémas d'Afrique de Toulouse (Festival of African Cinemas in Toulouse) in late August, early September. We obviously hope that there are other selections in Belgium and France. For me, the goal is for the film to be seen, wherever that may be and in any way possible.

It is clear that, for the moment, the film circulates better in African festivals than in European ones. It is difficult for me to provide an analysis in this regard. There is a certain unpredictability in the programmers’ selection process.

In Kigali (Mashariki FilmFest), you announced a trilogy around the genocide in Rwanda, what stage are you on this project?

In 2014, this trilogy project turned into two portraits, rather in the form of a report, which is accessible on my blog [in French]: https://dlphnwl.wordpress.com/.

Presently, I am writing a short fiction entitled “Au risque de se perdre” (At the risk of getting lost) that evokes the career of an African journalist, which particularly appeals to me. I co-directed with radio director and sound engineer, Jeanne Debarsy, a sound creation entitled  "Sous l'eau, les larmes du poisson qui pleure ne se voient pas" (Under water, the tears of the crying fish cannot be seen). I am also developing a new documentary project, for which I do not yet have a title.

09 July 2018

Appel à films – Call for films – JCC 2018 - les journées cinématographiques de Carthage | Carthage Film Festival

Appel à films – Call for films – JCC 2018 - les journées cinématographiques de Carthage | Carthage Film Festival

[English]

CALL FOR FILMS. The 29th session of the Carthage film festival - JCC 2018 (03-10 November 2018) Tunisia

OFFICIAL COMPETITION - Feature and short fiction films or documentaries, African and Arab 

Deadline for submissions 15 08 2018 

[Français]

APPEL A FILMS. La 29ème session du festival du films : les journées cinématographiques de Carthage - JCC 2018 (03-10 novembre 2018) Tunisie

COMPETITION OFFICIELLE –longs et courts métrages ou documentaires arabes et africains

Date limite des inscriptions le 15 08 2018 


CINEF #4 2018 - Cinéma au féminin (Kinshasa) : Meduse, Cheveux Afro et Autres Mythes | Medusa, Afro hair and other myths by/de Adèle Albrespy, Johanna Makabi


Court Métrage – Short
Documentary | Documentaire
Meduse, Cheveux Afro et Autres Mythes
Medusa, Afro hair and other myths (2017)
by/de Adèle Albrespy, Johanna Makabi (France)


SYNOPSIS

[English] 

From Paris to Marseille, from London to Dakar, Adèle and Johanna film different types and techniques of hairdressing: braids—attached, plaited, bonding, or styles—weaving, straightening, natural. Through these encounters and conversations with people and hairdressers, as well from the stories of Romy, Cyn, Kami and Louise, Adèle and Johanna investigate the importance of treatment and maintenance of hair in the diverse African cultures. Hair, in fact, turns out to be more political than aesthetic...

[Français] 
De Paris à Marseille et de Londres à Dakar, Adèle et Johanna ont filmé différents types et techniques de coiffure : tresses collées, plates ou plaquées, tissage, défrisage, afro… C’est au détour de rencontres avec des passants ou coiffeurs ainsi qu’à travers les récits de Romy, Cyn, Kami et Louise, qu’elles s’interrogent sur l’importance du traitement et de l’entretien des cheveux dans les cultures africaines. Un sujet qui se révèle finalement plus politique qu’esthétique…

BIOGRAPHY | BIOGRAPHIE

[English] 
Johanna Makabi
Graduate of a Master of documentary cinema at Paris Diderot, and currently in Master of Anthropological Cinema and Documentary at the University of Nanterre, Johanna Makabi is destined to a career as a director. Johanna is also an ambassador and programmer for the Cinewax association, which promotes African cinemas in France and Senegal.  

Adèle Albrespy
Graduated with a degree in cinema at the University Paris 1 Panthéon Sorbonne and after a year at the Università di Roma Tre, Adèle Albrespy is currently in Master 2 at the University of Nanterre where she writes a dissertation on dance in the work of Pier Paolo Pasolini. She has directed several short films and edited for companies, notably for Les Cahiers du Cinéma and the CNC.

[Français]
Johanna Makabi
Diplomée d’un Master de cinéma documentaire à Paris Diderot, et actuellement en Master de cinéma anthropologique et documentaire à l'Université de Nanterre, Johanna Makabi se déstine à une carrière de réalisatrice. Johanna est également ambassadrice et programmatrice au sein de l’association Cinewax qui fait la promotion des cinémas africains en France et au Sénégal.

Adèle Albrespy 
Diplômée d’une licence de cinéma à l’Université Paris 1 Panthéon Sorbonne et après un an passé à l’Università di Roma Tre, Adèle Albrespy est actuellement en Master 2 à l’Université de Nanterre où elle écrit un mémoire sur la danse dans l’œuvre de Pier Paolo Pasolini. Elle a réalisé plusieurs courts-métrages et fait du montage pour des entreprises, notamment pour Les Cahiers du cinéma et le CNC.


CINEF #4 2018 - Cinéma au féminin (Kinshasa) : Blanc-Noir et Heureux | Black White and Happy by/de Cornelia Glèlè


Court Métrage – Short
Documentary | Documentaire
Blanc-Noir et Heureux | Black White and Happy (2017)
by/de Cornelia Glèlè (Benin)


SYNOPSIS

[English]
"Blanc-Noir et Heureux" relates the discrimination and rejection that Fatu and Restarick experience because of their albinism. The film also exposes the determination of these two characters to keep their heads on their shoulders to realize their dreams, despite the prejudices.

The goal is to show that people with albinism are normal people like all humans and that whatever the color of our skin, equality is what characterizes us the best.

[Français]
« Blanc-Noir et heureux » relate la discrimination et le rejet qu'éprouvent Fatu et Restarick à cause de leur albinisme. Le film expose également la détermination de ces deux personnages à garder la tête sur leurs épaules pour réaliser leurs rêves, malgré les préjugés.

Le but est de montrer que les gens atteints d’albinisme sont des personnes normales comme tous les humains et que quelque soit la couleur de notre peau, l’égalité est ce qui nous caractérise le mieux.

Sources : 



BIOGRAPHY | BIOGRAPHIE

[English]
Cornelia Glèlè studied journalism at the Institut Superieur des métiers d'audiovisuel ISMA in Cotonou, Benin. She is a documentary filmmaker, blogger for Ecranbenin since 2017 and freelance at the Benin Association of Social Marketing since 2015.

[Français]
Cornelia Glèlè a fait ses études à Institut Supérieur des Métiers de l'audiovisuel ISMA Bénin en journalisme à Cotonou. Elle est réalisatrice documentaire, blogueuse pour Ecranbenin depuis 2017 et pigiste à l’Association Béninoise de Marketing Social depuis 2015. 


CINEF #4 2018 - Cinéma au féminin (Kinshasa) : A Place for myself | Une place pour moi by/de Marie Clementine Dusabejambo


Court Métrage – Short
Fiction
A Place for myself | Une place pour moi (2016)
by/de Marie Clementine Dusabejambo (Rwanda)


SYNOPSIS

[English]
 “A Place for Myself” captures the story of Elikia, a five-year-old girl with albinism who attends a regular elementary school. Due to her skin colour her classmates make her realise that her "difference" is more a problem than a special trait. While the neighbourhood treats her as a stereotype, her mother encourages her. Together they fight back and raise their voice to find a place for themselves.

At some point, every child dreams of being a superhero, wearing a cape: imagining a power that makes it a reality. Along the way, many of us lose our self-confidence and our faith is taken away when the world shows us how different we are from what is called “normality. “A Place for Myself” is a reflection on our differences. Our goal is to inspire young people and to make them realise that human beings have a lot in common to focus on, rather than just differences.

[Français]
Dans une école primaire quelconque, arrive Elikia, une fille âgée de cinq ans, atteinte d’albinisme. A cause de la couleur de sa peau, ses camarades de classe s’aperçoivent que sa différence est plus un problème qu’un caractère particulier. Tandis que son voisinage la considère comme un stéréotype, sa mère la soutient. Ensemble, elles réagissent et élèvent leurs voix pour trouver leur propre place.


BIOGRAPHY | BIOGRAPHIE

[English]
Marie Clementine Dusabejambo, born in Kigali, studied electronics and telecommunications in Rwanda. She is a filmmaker working with the Rwandan-based Almond Tree Films Collective.

[Français]
Marie Clémentine Dusabejambo, née à Kigali, a fait des etudes en électronique et télécommunications. Cinéaste, elle travaille avec Almond Tree Films Collective basé au Rwanda.

08 July 2018

CINEF #4 2018 - Cinéma au féminin (Kinshasa) : Chronique congolaise | Congolese chronicle by/de Wendy Bashi


Court Métrage – Short
Documentary | Documentaire
Chronique congolaise | Congolese chronicle (2017)
Wendy Bashi (RDC)

SYNOPSIS

[English] 
December 19, 2016 marks the end of Joseph Kabila's second term. The Congolese constitution has no possibility for a third term. As we approach this historic moment, the DRC holds its breath. On the youngest online journal in the country, a real hunt for info begins!

[Français] 
Le 19 décembre 2016 marque la fin du deuxième mandat de Joseph Kabila. La constitution congolaise ne prévoit aucune possibilité pour un troisième mandat. A l’approche de ce moment historique, la RDC retient son souffle. Dans la plus jeune rédaction web du pays, commence une véritable chasse à l’info !


BIOGRAPHY | BIOGRAPHIE

[English] 
Wendy Bashi is a Congolese journalist and filmmaker based in Belgium. Since 2009, she has contributed to "Reflets Sud" and "Plural Africa", two programmes produced by CIRTEF [International Council of French-language Radios and Televisions] and TV5 Monde. She holds a Master's in Information and Communication from the University of Liege and a certificate from the London-based Thomson Reuters for the "Making TV News" course, obtained in 2012. In 2011, she completed an internship at the Swahili Department of The Voice of America. In May 2017, she joined the morning news team at the Francophone Africa department of Deutsche Welle. Since 2013 Bashi is a correspondent for Amina magazine. She was a freelance journalist for the program Afrik'Hebdo broadcast on RTBF International and is also editor for Glo.be, the Magazine of the Belgian development cooperation as well as Images Francophones the web magazine of the International Organization of the Francophonie. In addition, she is correspondent for the Africa service of the Deutsche Welle and works on an as needed basis on the Transversale programme, which is broadcast on La Première (RTBF). Wendy Bashi also participated in CIRTEF-TV5 Africa productions and programming. Since 2016, she has collaborated on the European Parliament-sponsored “Week of Africa”. To date she has produced three audio-visual documentaries and four 26-minute TV reports, which are broadcast on TV5Monde as well as numerous festivals. She also produces radio documentaries broadcast mainly on RTBF and Deutsche Welle.

[Français]
Wendy Bashi est une journaliste-Réalisatrice congolaise résidant en Belgique. Elle participe à « Reflets Sud » et « Afrique Plurielle », deux émissions produites par le CIRTEF [Conseil International des Radios et Télévisions d’Expression Française] et TV5 Monde depuis 2009. Elle est titulaire d’un master en Information et Communication de l’Université de Liège et d’un brevet de Thomson Reuters en « Making TV News » obtenu en 2012 à Londres. En 2011, elle a effectué un stage au département swahili de La Voix de l’Amérique. En mai 2017, elle rejoint l’équipe d’info matin au département Afrique Francophone de la Deutsche Welle.

Depuis 2013 elle est correspondante pour le magazine Amina. Elle a été journaliste pigiste pour l’émission Afrik’Hebdo diffusée sur les ondes de RTBF International. Elle est également rédactrice pour Glo.be, le Magazine de la coopération belge au développement ainsi qu’Images Francophones le web magazine de l’Organisation International de la Francophonie .Elle est correspondante pour le service Afrique de la Deutsche Welle et collabore de manière ponctuelle pour l’émission Transversale diffusée sur La Première (RTBF).

Wendy Bashi a également participé aux productions et à la programmation « CIRTEF-TV5 Afrique. Depuis 2016, elle travaille comme collaboratrice sur la semaine de l’Afrique organisée au Parlement européen.

A ce jour elle a réalisé 3 documentaires audiovisuels et quatre reportages de 26minutes diffusés sur TV5Monde ainsi que de nombreux festivals. Elle réalise également des documentaires radiophoniques diffusés essentiellement sur la RTBF ainsi que la Deutsche Welle.

Source: https://rebranding-africa.com/2017/10/02/wendy-bashi/