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.

18 July 2018

Interview with Delphine Wil, director of the film Mémoire de missionnaires | 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 Mémoire de missionnaires | 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/

CINEF #4 2018 - Cinéma au féminin (Kinshasa) : Matolo by/de Fifi Solange Kabeya


Court Métrage – Short
Documentary | Documentaire
Matolo  (2016)
by/de Fifi Solange Kabeya
(RDC)


SYNOPSIS

[English] 
Hulk, a taxi driver in the Bandalungwa commune is a father of four and is addicted to drugs. He has no fixed address and often, he has to sleep under the stars.

[Français] 
Hulk est un chargeur de taxi dans la commune de Bandalungwa. Père de quatre enfants, il est par ailleurs accro à la drogue. Hulk n’a pas de domicile fixe, et il doit souvent dormir à la belle étoile.

Kin Realities : A collection of creative documentary films, "Kin Réalités" is a collective project produced by three Congolese production companies. The directors of Bimpa Productions, Clarimage and Uniproc give testimonies of the realities of Kinshasa. Health, football, transport, ecology, clothing are some of the topics addressed.

Kin Réalités : Collection de films documentaires de création, "Kin Réalités" est un projet collectif de trois sociétés de production congolaises. Les réalisateurs de Bimpa productions, Clarimage et Uniproc témoignent des réalités de Kinshasa. Santé, football, transports, écologie, habillement sont quelques-uns des thèmes abordés.