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.

12 October 2018

Follow the Udada International Women’s Film Festival – Nairobi - From 11 to 20 October 2018

Follow the Udada International Women’s Film Festival 2018 – Nairobi - From 11 to 20 October 2018

Social Media Networks:

THE THEME FOR 2018:
“If We Ran The World…Then, We Need To Tell The Stories We Have Been Silent About”

With a newly introduced year-long program for the 2018 edition, the main festival event falls between the International Day of the Girl and Kenya’s Mashujaa Day (Heroes Day): October 11th – 20th, 2018. Featuring films by and about women from around the world, the 10 days are a celebration of female filmmakers’ in writing, directing, design, and production as well as innovation in the film-making sector

11 October 2018

11 October | Octobre 2018 : International Day of the Girl Child | Journée internationale de la fille

11 October | Octobre 2018
International Day of the Girl Child
Journée internationale de la fille


The day aims to highlight and address the needs and challenges girls face, while promoting girls' empowerment and the fulfillment of their human rights.

Cette Journée vise à mettre en lumière les besoins des filles et à répondre aux défis auxquels elles font face. Cette Journée promeut également l'autonomisation des filles et l'exercice de leurs droits fondamentaux.


The girl-child as main protagonist in a selection of recent films by African women  

La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines


[English]
In the selection of films that follow, the girl-child plays the main protagonist. This representation of the girl character is an empowering practice as she deals with complex issues regarding her family and the world around her: Five-year-old Nadia lives in the slums of Casablanca where she is surrounded by a wall that separates her from the rest of the city; Elikia, is a five-year old with albinism, which is considered a stereotype by her neighbors; nine-year-old Zeinab opposes moving to Canada because she hates the snow; ten-year-old Mouna who copes with the death of her mother, almost never separates from her doll Ashia; ten-year-old Godelive attends a Catholic convent school in the Congo. However, the strict western education collides with her own memories of the traditions of her grandmother; eight-year-old Aida attempts to ease the suffering of her mother after her father brings a second wife into the household; after being accused of being a witch and placed in a "witches camp", 9-year-old Shula longs for freedom. Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family.

[Français]
Dans une sélection de films récents ci-dessous, la petite fille joue le rôle principal. Cette représentation cinématographique nous montre une image forte et valorisante de la petite fille, lorsqu’elle confronte des questions complexes concernant sa famille et le monde qui l’entoure : Mouna, 10 ans, qui fait face à la mort de sa mère, ne se sépare presque jamais de sa poupée Aisha ; Elikia, 5 ans, est atteinte d’albinisme que son voisinage considère comme un stéréotype ; Nadia, 5 ans, vit dans les bidonvilles de Casablanca où elle est entourée d'un mur qui la sépare du reste de la ville ; Godelive, 10 ans, vit dans un pensionnat catholique en Congo y recevant une éducation occidentale. Mais le souvenir de sa grand-mère s’interpose ; Zeinab, qui a neuf ans, ne veux pas vivre au Canada parce qu’elle n’aime pas la neige; Aida, 8 ans, tente de soulager la souffrance de sa mère après que le père amène une seconde femme à la maison; Shula, qui a neuf ans, accusée de sorcellerie et mise dans un camp de sorcières, rêve de liberté. Aya, 7 ans, vit avec ses parents salafistes, Mariem et Youssef. Par peur d'être banni par sa communauté salafiste, Youssef est contraint d'imposer le port du Niqab à sa femme. Un jour, Aya commet un acte qui bouleversera à jamais le destin de sa famille.



05 October 2018

Nobel Peace Prize Winner 2018: Dr. Denis Mukwege: Congo, un médecin pour sauver les femmes | a doctor who saves women a/un film by/de Angèle Diabang

Dr. Denis Mukwege
Photo: © Roches noires Productions / Karoninka
Nobel Peace Prize Winner 2018: Dr. Denis Mukwege: Congo, un médecin pour sauver les femmes | a doctor who saves women, a/un film de/by Angèle Diabang

English
Dr. Denis Mukwege is a gynecologist and the founder of Panzi, a hospital whose primary mission is treating women who have been raped - casualties in the Democratic Republic of Congo's decades-long war. At the hospital, in the Kivu district of the country, Mukwege and his mostly female team provide reconstructive surgery and psychological counseling, as well as literacy and other programs designed to help patients reintegrate into a society that has a history of shaming and ostracizing rape survivors.

Through the work of Dr Mukwege, the film highlights the atrocities perpetrated on Congolese women, but also offers vivid accounts of their resilience and determination to not be defined by the crimes committed against them. (Source: http://icarusfilms.com/if-doc)


Français
Il y a une quinzaine d’années, le Docteur Denis Mukwege a créé l'Hôpital Moderne de Panzi, dans le Sud-Kivu en République Démocratique du Congo. Il y a accueilli et opéré plus de 40 000 femmes violées et mutilées. En octobre 2012, on tente de l’assassiner pour la troisième fois. Pourquoi veut-on faire taire celui qui se révèle l'infatigable défenseur des femmes violées du Congo et celui qui redonne la vie à ces femmes meurtries ? Ce documentaire donne la parole au docteur Mukwege et aux femmes victimes qui ont accepté, exceptionnellement, de se confier à la réalisatrice, Angèle Diabang. Des paroles rares qui racontent l’histoire de ces femmes qui souffrent parce que la barbarie s’est emparée de leur quotidien. (Source: http://www.film-documentaire.fr/4DACTION/w_liste_generique/C_37408_F)


Photo: © Roches noires Productions / Karoninka

01 October 2018

Milano 2019: Festival del Cinema Africano, d'Asia e America Latina - African, Asian and Latin American Film Festival - Festival du Cinéma Africain, d’Asie et d’Amérique Latine - Le iscrizioni - Call for Entries - L’appel à candidature

Milano 
23-31 - 3 - 2019

Festival del Cinema Africano, d'Asia e America Latina
African, Asian and Latin American Film Festival
Festival du Cinéma Africain, d’Asie et d’Amérique Latine

Le iscrizioni - Call for Entries - L’appel à candidature


Le iscrizioni per il 29° FESCAAAL. L’iscrizione è gratuita. Deadline: 21 dicembre 2018

Call for Entries. L’inscription est gratuite. Date limite: 21 décembre 2018.

L’appel à candidature. Film submissions are free of charge. Deadline: 21 December 2018.

28 September 2018

Laureates of the Afrika Film Festival Köln 2018 Audience Award: Hawa Essuman and Machérie Ekwa Bahango

Laureates of the Afrika Film Festival Köln 2018 Audience Award: Hawa Essuman and Machérie Ekwa Bahango

Congratulations to the laureates of the Afrika Film Festival Köln 2018 Audience Award: Hawa Essuman for the best documentary and Machérie Ekwa Bahango for the best feature film.

Hawa Essuman, Anjali Nayar (Canada/South Africa/ Kenya), Silas, 2017
Liberian activist, Silas Siakor is a tireless crusader, fighting to crush corruption and environmental destruction in the country he loves.

Through the focus on one country, Silas is a global tale that warns of the power of politics and celebrates the power of individuals to fight back. One man's battle gains momentum and emboldens communities to raise their fists and smartphones, seize control of their lands and protect their environment. It is a new generation of resistance.

Machérie Ekwa Bahango, (DR Kongo), Maki’la, 2018
Maki observes the sapeurs with a mixture of amusement and scorn. They’re all the family she has, this group of young men who use the streets of Kinshasa as their stage, showing off their wild mix of street chic and stolen designer fashions. Maki has been on the streets a long time and is married to Mbingazor, the gang’s boss. But at some point, the 19-year-old has had enough of this gang of boys, who are too busy getting high and drunk to do anything with themselves. Survival must be secured. The next time money for food runs out, Maki crosses paths with the much younger Acha. This newcomer is a fresh arrival in Kinshasa, and doesn’t yet know the rules. Spurred on by Acha’s beginner’s luck as a thief, the pair set off on an adventure together, which soon arouses Mbingazor’s jealousy.

22 September 2018

Toronto International Film Festival 2018 Laureates: Aäläm-Wärqe Davidian (Fig Tree), Meryam Joobeur (Brotherhood)

Toronto International Film Festival
2018 Laureates:
Aäläm-Wärqe Davidian, Meryam Joobeur


Aäläm-Wärqe Davidian (Ethiopia/Israel) Fig Tree (2018) Eurimages Audentia Award for Best Female Director | Eurimages Prix Audentia de la meilleure réalisatrice

Synopsis

English
Set in 1989 during the Ethiopian civil war, fourteen-year-old Mina, who is Jewish, tries to prevent her Christian boyfriend Eli from being drafted. When she discovers her family’s plans to move to Israel, she devises a plot to save Eli. Aäläm-Wärqe Davidian’s coming–of-age debut film is based on her childhood memories of a civil-war-torn Ethiopia.

Français
Pendant la guerre civile qui déchire l’Ethiopie, la famille de Mina, une adolescente de 14 ans, décide de quitter le pays pour Israël. Mais Mina ne peut se résoudre à quitter son ami Eli dont elle est secrètement amoureuse. Malgré la guerre qui fait rage, Mina fera tout ce qu’elle peut pour sauver l’amour de sa vie avant que ne se termine leur enfance. (Source: Cineuropa)


Meryam Joobeur Brotherhood (Tunisia-USA) IWC Short Cuts Award For Best Canadian Short Film | Le prix du meilleur court-métrage canadien
Synopsis

English
The film tells the story of Mohamed, an unsentimental shepherd living in rural Tunisia with his wife and two sons, deeply troubled by the return of his eldest son Malik from Syria. The latter, who has returned with a mysterious new wife, is confronted with his father’s disapproval. The tension between father and son intensifies over three days until it reaches a breaking point.

French
The film raconte l’histoire de Mohamed, un berger endurci vivant en Tunisie rurale avec sa femme et ses deux fils, qui est profondément ébranlé lors du retour de Syrie de son fils ainé Malik. Celui-ci, de retour avec une mystérieuse nouvelle épouse fait face au regard désapprobateur de son père. La tension entre le père et le fils s’intensifie sur trois jours jusqu’a attendre un point de rupture. (Source : Kapitalis)



20 September 2018

Tune in : DIRECTED BY WOMEN - a worldwide film viewing party - 1-30 September 2018

Tune in : DIRECTED BY WOMEN - a worldwide film viewing party - 1-30 September 2018

Join the 4th Annual #directedbywomen Worldwide Film Viewing Party

Founder Barbara Ann O'Leary had this to say about the initiative:

We're on a journey. Each year has its own rhythms.
  
The intention of the #DirectedbyWomen Worldwide Film Viewing Party is to invite film lovers to become aware of the thousands and thousands of women who have directed/are directing films, to inspire exploration and appreciation of their work, and to foster a sense of growing community among film lovers. Ultimately the intention is to help the world fall madly in love with films by women directors. 

The Global Directory of women directors is up to 12426 directors... and counting!

13 September 2018

Women at the | Frauen beim | Les Femmes au : Afrika Film Festival Köln - 13. - 23. September 2018



WOMEN AT THE | FRAUEN BEIN | LES FEMMES AU :
13. - 23. September 2018 

Fokus:

Innerafrikanische Migration
Theme: Migrations in Africa
Thème : Migrations en Afrique

Josza Anjembe
Machérie Ekwa Bahango
Khadidiatou Sow
Hawa Essuman
Safi Faye
Selly Raby Kane
Ng’endo Mukii
Marie Laurentine Bayala
Apolline Traoré

Gastbeitrag | Guest Contribution | Contribution d’invitée 
Fatima Sissani : Der Blick von Innen | The inside view | Le regarde la dedans


Josza Anjembe (France-Cameroon) Le bleu blanc rouge de mes cheveux, 2016

English
Seyna, a seventeen-year-old Cameroonian adolescent, is passionate about the history of France, the country where she was born and which she loves very much. Having obtained her baccalaureate and approaching adulthood, Seyna has only one desire, to acquire French nationality. But her father Amidou is fiercely opposed to it.

Français
À dix-sept ans, Seyna, une adolescente camerounaise se passionne pour l'histoire de la France, le pays qui l'a vue naître et dont elle est profondément amoureuse. Son baccalauréat en poche et sa majorité approchant, Seyna n'aspire qu'à une chose : acquérir la nationalité française. Mais son père Amidou s'y oppose farouchement.

Machérie Ekwa Bahango, (DR Kongo), Maki’la, 2018

English
Maki observes the sapeurs with a mixture of amusement and scorn. They’re all the family she has, this group of young men who use the streets of Kinshasa as their stage, showing off their wild mix of street chic and stolen designer fashions. Maki has been on the streets a long time and is married to Mbingazor, the gang’s boss. But at some point, the 19-year-old has had enough of this gang of boys, who are too busy getting high and drunk to do anything with themselves. Survival must be secured. The next time money for food runs out, Maki crosses paths with the much younger Acha. This newcomer is a fresh arrival in Kinshasa, and doesn’t yet know the rules. Spurred on by Acha’s beginner’s luck as a thief, the pair set off on an adventure together, which soon arouses Mbingazor’s jealousy.

This debut packs in a whole lot: The drama of the story, the raw opulence of the setting and street cred of the actors are all striking cinematic statements. Machérie Ekwa Bahango is part of a group of young filmmakers in Kinshasa working to revitalise Congolese cinema and create works that equally appeal to their own home audiences.

Français
Makila est une jeune fille de 19 ans qui vit dans la rue depuis l'âge de 13 ans. A son arrivée, elle a été accueillie par le caïd Mbingazor, un délinquant albinos, qui l'a initiée à la façon de vivre, ou plutôt de survivre, dans la rue : drogue, prostitution, vol… Les deux finissent par se marier. Devenue femme de caïd, Makila engage à son service des enfants qui volent pour elle, en échange d'une protection et de quelques miettes. Elle arrête ainsi de se prostituer. Makila et Mbingazor forment le couple le plus respecté de la rue, mais très vite, leur relation basée sur l'exploitation et la violence, commence à ennuyer la jeune fille qui se sent prisonnière. Elle décide de quitter Mbingazor…


Khadidiatou Sow, (Senegal) Une Place dans l‘Avion, 2017

English
A radio station announces that a special aircraft to the US is at the disposal of any traveller wishing to emigrate, on demand. But there is a limited number of places. Moussa, who has always dreamt of leaving, decides to set off.

Français
Une station de radio annonce qu'un avion spécial à destination des États-Unis vient d'être mis à la disposition de tout voyageur désireux d'émigrer, sans aucune formalité ou contrainte. Sauf que les places sont limitées. Moussa qui a toujours rêvé de partir se découvre des capacités insoupçonnés.

Hawa Essuman, Anjali Nayar (Canada/South Africa/Kenya), Silas, 2017

English
Liberian activist, Silas Siakor is a tireless crusader, fighting to crush corruption and environmental destruction in the country he loves.

Through the focus on one country, Silas is a global tale that warns of the power of politics and celebrates the power of individuals to fight back. One man's battle gains momentum and emboldens communities to raise their fists and smartphones, seize control of their lands and protect their environment. It is a new generation of resistance.

Français
Activiste libérien Silas Siakor est un militant infatigable qui se bat pour écraser la corruption et la destruction de l'environnement dans le pays qu'il aime.

En visant sur son pays, Silas est un conte mondial qui met en garde contre le pouvoir de la politique et au même temps célèbre le pouvoir des individus à se défendre. La bataille d'un homme prend de l'ampleur et encourage les communautés à lever le poing et les smartphones, à prendre le contrôle de leurs terres et à protéger leur environnement. C'est une nouvelle génération de résistance.

Safi Faye (Senegal), Kaddu Beykat (Letter From My Village) 1975

English
Ngor and Coumba live in a small village of farmers-breeders in Senegal live. They have wanted to get marry for the past two years. And again this year, the harvest is bad ... The rains are insufficient, irregular. Groundnut, a colonial-era crop, the only marketable produce, is harvested only once a year.

Français
Dans un petit village d'agriculteurs-éleveurs au Sénégal habitent Ngor et Coumba. Il y a maintenant deux ans que Ngor désire épouser Coumba. Et cette année encore, la récolte est mauvaise... Les pluies sont insuffisantes, irrégulières. Or l'arachide, culture coloniale, la seule commercialisable, ne se récolte qu'une fois par an.

Selly Raby Kane (Senegal) The Other Dakar, 2017

English
In this dreamlike 360º film, we follow a girl in her journey through “The other Dakar”, a place where artists hold the secret wonders of the city.

Français
Une petite fille est choisie et reçoit un message pour découvrir le visage caché de Dakar. Un hommage 360º à la mythologie sénégalaise. Embarquez dans l’univers fantastique et foisonnant de l’artiste, et découvrez la face cachée de la capitale sénégalaise.

Ng’endo Mukii (Kenya) Nairobi Berries, 2017

English
In the empty spaces we cannot claim as our own, in forests full of smoke and beneath waters dappled with bougainvillea, two women and a man wrangle. Each must hollow out the other’s core for fruits promised but only ever borne, in dreams. For this is Nairobi, the place we call home.

Français
Dans les espaces vides que nous ne pouvons revendiquer comme les nôtres, dans des forêts pleines de fumée et sous les eaux pointées de bougainvilliers, deux femmes et un homme se disputent. Chacun doit creuser le noyau de l’autre pour obtenir des fruits promis mais qui n’été octroyé que dans les rêves. Car c'est Nairobi, l'endroit que nous appelons chez nous.

Marie Laurentine Bayala, (Burkina Faso), Fantôme du Père, 2018

English
In this documentary, the director follows the path of mixed-race Franco-Burkinabe, Claire Lagedemond in her journey of identity to find her father, whom she has not seen since childhood. Born in Côte d’Ivoire, she grew up in the village. In Burkina, with her non-literate grandmother, she is now more than 40 years old and determined to find the father who for her has become a ghost. Also, Claire fights to prevent this same situation from happening to her son whose father is also absent. In this film, one has the impression of being transported into an investigation that goes from Ouagadougou to Abidjan, of which we absolutely want to know the outcome. (To the ghost of the father by Marie Laurentine Bayala. By Bengnime Rachelle Some. Source: JCFA NEWS No. 3 Journées Cinématographiques de la Femme Africain de l'Image).

Français
La réalisatrice suit dans ce documentaire les traces de Claire Lagedemond, métisse franco- burkinabè, dans sa quête identitaire pour retrouver son père qu’elle n’a plus revu depuis son enfance. Née en Côte d’Ivoire, elle a grandi au village. Au Burkina, auprès de sa grand-mère illettrée, âgée aujourd’hui de plus de 40 ans. Elle est obstinée à retrouver ce père devenu un fantôme pour elle. Aussi, Claire se bat pour éviter que cette même situation n’arrive pas à son fils dont le père est absent. Dans ce film, on a l'impression d'être emporté par une enquête qui va de Ouagadougou à Abidjan, dont on tient absolument à connaître le dénouement. (Au fantôme du père de Marie Laurentine Bayala. Par Bengnime Rachelle Some. Source: JCFA NEWS No. 3 Journées Cinématographiques de la Femme Africain de l'Image). 

Apolline Traoré (Burkina Faso), Frontières (Borders) 2017

English
Apolline Traoré: This is a small series I made of 100 episodes. Fifty concerning men, and fifty concerning women. They are very short segments, 5 to 6 minutes each.

I wanted to show all the crap that men do to women and vice versa, so I did not attack only one gender. Backstabbing, lies that every human being endures in a relationship.

Some people may say that I am giving ideas to men to do certain things to women or women to do to men. But at any rate, what I have shown, there is nothing about it that is invented.

I collected the experiences of actual people. It's just that I am showing it on the screen. Everyone will recognize themselves. Even I have my story too. Excerpt of interview by Reveline Somé for Burkina24.com published 19 February 2015. 

[Français]
Apolline Traoré : C’est une petite série que j’ai faite de 100 épisodes. 50 qui concernent les hommes et 50 autres qui concernent les femmes. C’est vraiment de petits modules de 5 à 6 minutes chacun.

J’ai voulu parler des petites conneries que les hommes font aux femmes et vice versa, donc je n’ai pas attaqué un seul sexe. Les coups bas, les mensonges que chaque être humain subit quand il est dans une relation.

Certaines personnes me diront peut-être que je donne des idées aux hommes de faire certaines choses aux femmes ou aux femmes de le faire aux hommes,  mais de toutes les manières, ce que j’ai montré, il n’y a rien d’inventé dedans.

J’ai collecté les expériences des uns et des autres. C’est juste ce que j’ai mis sur l’écran. Chacun va se reconnaître.  Même moi j’ai mon histoire aussi. Extrait d’entretien par Reveline Somé du Burkina24.com publié 19 février 2015

10 September 2018

Afrika Film Festival Köln - 13. -23 September 2018 - Deutsch | English | Français

AFRIKA FILM FESTIVAL KÖLN
13. -23 September 2018
Deutsch | English | Français

PROGRAMMHEFT | BOOKLET | BROCHURE :

Deutsch
Fokus: Innerafrikanische Migration

Das 16. Afrika Film Festival Köln präsentiert 75 neue Filme aus Afrika – mit einem breiten Fokus auf innerafrikanische Migration

Zu Beginn einige Zahlen: 68 Millionen Menschen sind weltweit auf der Flucht, die meisten von ihnen in ihren eigenen Nachbarländern. Die Gründe sind so bekannt wie vielfältig: Krieg, Demokratiedefizite und wirtschaftliche Not. Dabei gelangt nur ein kleiner Teil der globalen Flüchtlinge (um die 17 Prozent) in das vergleichsweise reiche Europa, 30 Prozent aller Flüchtlinge leben in den afrikanischen Ländern südlich der Sahara. Wird der Maghreb hinzugezählt, beherbergt Afrika sogar etwa die Hälfte der Flüchtlinge weltweit.

Die innerafrikanische Migration ist ein zentraler Fokus beim diesjährigen Afrika Film Festival Köln, mit 25 Titeln; doch auch die Filme des Rahmenprogramms durchzieht das Thema häufig auf direkte oder indirekte Weise.

English
Theme: Migrations in Africa

The 16th Afrika Film Festival Köln will present 75 new films from Africa – with a wider focus on migration within Africa.

Some numbers: there are currently 68 mil- lion displaced people worldwide, most of whom now reside in countries bordering their homelands. The wide range of reasons for their displacement is well known: war, demo- cratic deficits and economic deprivation. Only a small per- centage of the world’s refugees (around 17 percent) make it to the comparatively rich Europe, while 30 percent of all refugees live in sub-Saharan African countries. If we include the Maghreb, the percentage of the world’s refugees accom- modated in Africa swells to around 50.
Migration within Africa is one of the key focal points of this year’s Afrika Film Festival Köln, with 25 films in the main programme and many others in the supporting events that directly or indirectly address the issue.

Français
Thème : Migrations en Afrique

Le 16ème Festival du Film africain de Cologne présente 75 nouveaux films d’Afrique – avec un large éventail sur la migration intra-africaine

Quelques chiffres pour commencer : 68 millions de per- sonnes sont déplacées à travers le monde, la plupart d’entre elles dans leurs pays voisins. Les raisons sont aussi connues que multiples : guerre, déficit démocratique et détresse éco- nomique. Dans ce contexte, seule une poignée des réfugiés mondiaux (environ 17 pourcent) atteignent l’Europe, plus riche, et 30 pourcent des réfugiés vivent dans des pays afri- cains au sud du Sahara. Si on compte le Maghreb, l’Afrique abrite même la moitié de tous les réfugiés du monde.

La migration intra-africaine est au cœur de la présente édi- tion du Festival du Film africain de Cologne, avec 25 titres ; mais la plupart des films du programme abordent aussi cette thématique de manière directe ou indirecte.

06 September 2018

Analysis/analyse by/par PÉLAGIE NG'ONANA : Ward Zee by/de Delphine Itambi, the power of the womb / le pouvoir des entrailles

Analysis/analyse by/par PÉLAGIE NG'ONANA : Ward Zee by/de Delphine Itambi, the power of the womb / le pouvoir des entrailles. Translated from French by Beti Ellerson

Français ci-après

[English]
The director's latest film, based on a true story, infiltrates the trafficking network of new-born babies.

From beginning to end the intrigue conveys the pangs of a painful battle. That of Page Asanji, a young mother dispossessed of the fruit of her womb two days after childbirth. Embodied by the talented Charlotte Gobina, an imposing figure in the leading role, from scene to scene Page's determination finds paths of hope to a dramatically desperate situation. Who has so cleverly orchestrated the theft of a new-born baby in the famous Pavilion Z of the Royal Hospital? The 116 minutes of this thriller, shot in Buea will make the spectator a full member of the investigative team who has decided to conduct a private enquiry. With Ward Zee, officially released 23 June 2018, Delphine Itambi deals with a humanly devastating phenomenon that is growing at a frightful rate in Cameroon. She is particularly inspired by the famous affair of Vanessa Tchatchou, mother of a little girl who disappears a few hours later without a trace in 2011. The event, which happens in the Cameroonian capital, will take on an international resonance. But will not bring back the stolen baby.

While Ward Zee is not a reproduction of this affair, we still find the main ingredients that have embellished this sordid story: a hospital that allows its new-born to be taken away, an investigation burdened with delays, and biased authorities, who for the most part are walled in their silence. The protagonists of Ward Zee learn this at their own expense. The first attempts of the young Page to legally find her baby and her husband (also missing) prove unfruitful. The lawyer she meets on her journey, rousing half amnesic in a bush, is eliminated while she conducts her investigation. Kate (Ndamo Damarise), Page’s interesting newfound neighbour realises immediately that she is in danger and decides to help her. She will succeed in convincing Jack (Libota Macdonald) her private detective boyfriend and Danny (Anurin nwunembom) the ex of the heroine, to avoid the police at all cost. It is the beginning of a delectable suspense story, peppered with chilling discoveries. The story, carefully narrated with a good dose of flashback keeps the viewer attentive while guessing what will follow. It is a heck of a hit for Delphine Itambi, who also scripted and produced this feature film.

Footprints…
Deep in her role, Page aptly portrays a bruised mother in the depths of despair. At the same time, an unknown force dwells within her, feeding her rage to find that part of herself, which has just been taken away. Her imaginary and echoing blows are testimony to this. The camera multiplies the close-ups on the face of the heroine transformed by sadness. The scenes arranged with the rhythm of astute editing are accompanied by skilfully balanced music. Some of them reveal nevertheless an inadequate synchronization of the sound. But one of Ward Zee's strengths is also its strong imprint of women’s presence. In addition to the main role, the filmmaker chooses to give key places to women, all of strong character. The first woman is a generous and courageous lawyer. Page’s new neighbour, a bit whacky but determined and persevering, mobilises and encourages her friends in their search for the new-born child. Delphine Itambi will also make a personal homage by inspiring Kate a scenario that she will write throughout the plot. Laura Onyama, a major asset of the film, plays Mabel, who commits the act of theft. The actress admirably goes from a sweet maid to a tried-and-tested girlfriend to the ruthless thief who wants to assert herself. Commanding in her role, Laura Onyama, playing opposite Page, responds unambiguously, allowing the director to explore the different extremes of the characters. The cast also reveals Achille Brice, better known in his roles of director and editor, in the posture of a seductive sniper. Ward Zee has a bright future ahead of it, like its young director who is just beginning to write her story within the Cameroonian film industry.

[Français]
Le dernier film de la réalisatrice, qui s’inspire d’une histoire vraie, s’infiltre dans un réseau de trafic de nouveau-nés.

L’intrigue porte de bout en bout les affres d’un combat douloureux. Celui d’une jeune mère Page Asanji, dépossédée du fruit de ses entrailles deux jours après l’enfantement. Incarnée par la talentueuse Gobina Charlotte, imposante dans ce rôle principal, la détermination de Page au fil des scènes, trouve des ruelles d’espoir à une situation dramatiquement désespérante. Qui a si savamment orchestré le vol d’un nouveau-né dans ce fameux pavillon Z du Royal hospital ?  Les 116 minutes de ce thriller tourné à Buea vont faire du spectateur un membre à part entière de cette curieuse équipe décidée à mener une enquête privée. Avec Ward Zee, sortie officiellement le 23 juin 2018, Delphine Itambi traite d’un phénomène humainement destructeur qui prend affreusement de l’ampleur au Cameroun. Elle s’inspire particulièrement de la célèbre Affaire Vanessa Tchatchou, génitrice en 2011 d’une petite fille qui disparait quelques heures après sans traces. L’évènement qui se déroule dans la capitale camerounaise prendra une résonnance internationale. Mais ne ramènera pas le bébé volé.

Si Ward Zee n’est pas une reproduction de ce fait divers, on y retrouve tout de même les principaux ingrédients qui ont agrémenté cette scabreuse histoire. Un hôpital qui laisse s’échapper son nouveau-né. Une enquête taxée de tardive et biaisée des autorités pour la plupart du temps murés dans leur silence. Les protagonistes de Ward Zee en apprennent à leurs dépends. Les premières tentatives de le jeune Page à retrouver légalement son bébé et son mari (lui aussi disparu) sont sans issues. L’avocate qu’elle croise sur son chemin en se réveillant à moitié amnésique dans une broussaille, est éliminée pendant qu’elle mène son enquête. Kate (Ndamo Damarise) la nouvelle et intéressante voisine de Page la sait désormais en danger et décide de lui apporter son aide. Elle réussira à convaincre Jack (Libota Macdonald) son petit ami détective privé et Danny (Anurin nwunembom) l’ex de l’héroïne de surtout éviter la police. C’est le début d’un suspens délicieux, jalonné de découvertes macabres. L’histoire, soigneusement narrée à bonne dose de flash-back donne difficilement la latitude au spectateur de deviner ce qui va suivre. Un sacré coup pour Delphine Itambi qui scénarise et produit en même ce long métrage.

Empreintes…
A fond dans son rôle, Page renvoie avec justesse son jeu de mère meurtrie rongée jusqu’aux entrailles par le désespoir. En même temps habitée d’une force inconnue qui nourrit sa rage de retrouver cette partie d’elle qu’on vient de lui ôter. Ses légendaires et retentissantes baffes en témoignent. La caméra multiplie les gros plans avec le visage de l’héroïne transformé par la tristesse. Les scènes agencées au rythme d’un montage intelligent s’accompagnent d’une musique savamment dosée. Quelques-unes d’entre elles dévoilant néanmoins une synchronisation inadéquate du son. Mais l’une des forces de Ward Zee c’est aussi sa forte empreinte féminine. Hormis le rôle principal, la réalisatrice choisit de donner des places déterminantes aux femmes toutes d’un fort caractère. Le premier personnage qui décide d’aider la jeune maman est une avocate généreuse et courageuse. La nouvelle voisine de Page, un peu déjantée mais déterminée et persévérante, mobilise et encourage ses amis dans la recherche du nouveau-né. Delphine se fera d’ailleurs un clin d’œil personnel en inspirant à Kate un scénario qu’elle écrira tout au long de l’intrigue. Et puis, on a Laura Onyama. Un atout majeur du film. Elle incarne Mabel, l’infiltrée qui commet l’acte du vol. L’actrice passe admirablement de douce femme de ménage à petite amie éprouvée jusqu’à l’impitoyable voleuse qui veut s’assumer. Magistrale dans son jeu, Laura Onyama donne une réplique retentissante à Page et permet à la réalisatrice d’explorer les différentes extrémités des personnages. La distribution dévoile également Achille Brice dans une posture de snipper qui séduit. Plus connu sous ses casquettes de réalisateur et monteur. Ward Zee a de beaux jours devant lui. Tout comme sa jeune réalisatrice qui commence juste à écrire son histoire dans l’industrie cinématographie camerounaise.           

04 September 2018

REMINDER - Out of Africa International Film Festival (OOAIFF) 2018: Call for entries

REMINDER
Out of Africa International Film Festival (OOAIFF) 2018
Call for entries

For immediate release:
4 September 2018
Out of Africa International Film Festival

OUT OF AFRICA
INTERNATIONAL FILM FESTIVAL
4TH EDITION



Michael Joseph Center to Host this year’s festival

(Nairobi, Kenya, September, 4th 2018) Out of Africa International Film Festival (OOAIFF) announces their 4th edition to be held on November 27th-29th 2018 at The Michael Joseph Center-Safaricom.  The team behind the festival is committed to discovering and developing African potential in the 7th Art.

The festival’s theme: Economic Empowerment of Youth and Women through Film expects submissions from experienced as well as amateur filmmakers including students of all levels.  The aim is to provide a platform where filmmakers, experts and general public interact to open up the local industry and offer more opportunities.

Films from all categories in different languages from around the continent are expected for screening.  The event also integrates talks, workshops and film and book market as well as offering a networking opportunity for exhibitors, industry players and general public.

Phone: +254 721 671374

###

Submissions are open on Film Freeway link: https://filmfreeway.com/OutofAfricaInternationalFilmFestival

24 August 2018

My Ethiopian Story by 15 Year Old Filmmaker Zuriel Oduwole

My Ethiopian Story by 15 Year Old Filmmaker Zuriel Oduwole

Born in the United States of Nigerian and Mauritian parentage, Zuriel Oduwole describes herself as a Pan African child. Her goal is to use her programme, Dream Up, Speak, Up, Stand Up, to inspire girls to accomplish their dreams as she has been able to do, and to ensure that every girl gets an education. Moreover, she wants to use the visibility that she has attained in order to present positive images of Africa, those that tell real African stories.

PRESS RELEASE

August 15, 2018 Los Angeles - California, A day after arriving back in Los Angeles from 7 weeks on the road, visiting 6 African countries including Ghana, Kenya, Nigeria, South Africa and lastly Ethiopia for her various projects which enunciate the need for Girls education, Zuriel is now sharing with the world her next simple country story - this time, Ethiopia!! Created in a youthful, playful, innocent - yet seriously contemporary approach with the help of some of her students, she summarizes in 50 seconds what made her time in Ethiopia fun, playful, educative, engaging, and above all , delightful. VIDEO: https://youtu.be/iwnG0Pns3fE


Before departing the historic city of Addis Ababa where her current film Follow The Ball screened in two locations, she held her now popular basic 'Film Making 101 class' for several teenage girls in the remote community of Akaki. "They too have dreams you know" she says. Truly ONE girl, can indeed make a DIFFERENCE.

LINK:



22 August 2018

IIFF 2018 - International Images Film Festival for Women : Sound of Tears, Dorothy A. Atabong, Cameroon/Canada

International Images Film Festival
for Women
(Harare)


Sound of Tears, 2014 (Outreach Film)
Dorothy A. Atabong
Cameroon/Canada

SYNOPSIS

Amina and her family have fled the city to escape her estranged lover Josh, and the stamp of shame from their patriarchal community; but Josh tracks them down.

BIOGRAPHY

Cameroon-born Dorothy A. Atabong based in Canada, is an award-winning actress, writer and producer best known for Sound of Tears for which she won various awards including an Africa Movie Academy Award in 2015. Source Wikipedia.

21 August 2018

IIFF 2018 – International Images Film Festival for Women (Harare) : Nyasaland, Joyce Mhango Chavula, Malawi

International Images Film Festival
for Women
(Harare)

Nyasaland, 2018
Joyce Mhango Chavula
Malawi

SYNOPSIS

A very successful and independent young woman returns to her village to see her ill father only to find him dead and buried. What follows is her encounter with the hyena that is terrorising the village and it happens to be a human being. With the help of a young man she takes the hyena head on and saves her village.

BIOGRAPHY

Joyce Mhango Chavula is an actress, film producer and screenwriter. After a stint in theatre she worked on four film productions in Malawi and Nollywood, which were a launch pad for her own film production. Source: http://makewana.org/filming-lilongwe-interview-with-joyce-chavura-mhango/


20 August 2018

IIFF 2018 – International Images Film Festival for Women (Harare) : Mukanya, Siza Mukwedini, Zimbabwe

International Images Film Festival
for Women
(Harare)

IIFF 2018

Mukanya, 2018
Siza Mukwedini
Zimbabwe 



SYNOPSIS

From a past marred by drunkenness and violence, the village menace, Mukanya, embarks on a journey to redeem himself by saving his son, who has become a reflection of Mukanya’s failures as a father. This is the journey of two men transforming into fathers. This film inspires conversations around the state of Zimbabwean as well as African fathers in the face of patriarchy and changing perspectives of what fatherhood is all about. A Conversations with our Fathers Project.

BIOGRAPHY

Siza Mukwedini has over 10 years' experience in documentary film production. Her main focus is development, with a focus on sharing inspirational stories that encourage development and social cohesion in Zimbabwe. Currently, she is working with the Zimbabwe Farmers’ Union highlighting success stories in agriculture. The program has also encouraged a lot of young people to turn to agriculture as a source of employment. Siza is an amazing storyteller and uses new media like film and photography. She mostly films and edits her own documentaries and upon completion of the Fellowship, wants to inspire Zimbabwe and Africa to realize the vast potential they have through creating her inspirational films. She believes the first step to effectively fostering social and economic development is inspiring the mind and aims to partner with some of Africa’s greatest minds she will have the chance of meeting through the Fellowship to achieve her vision.
Source: https://www.irex.org/people/sizhakele-martha-mukwedini-siza

IIFF 2018 – International Images Film Festival for Women (Harare) : Marie Madeleine: A Female Chief, Florence Ayisi, Cameroon

International Images Film Festival
for Women
(Harare)

IIFF 2018

Marie Madeleine: A Female Chief (2018)
Florence Ayisi
Cameroon


SYNOPSIS

A woman is to be enthroned as chief in Nkol Ngock I, a small village in Cameroon. This is a rare occurrence in most African societies where the position of chief is customarily handed down from father to son. This documentary presents a rare glimpse into a community undergoing change. Social attitudes towards gender equality are changing, as men openly acknowledge and speak about the importance of women in development. One man says "women are doing more to encourage development than men. I believe a female chief will bring new things."

Even though some villagers consider Marie-Madeleine a 'stranger' because she lives in the capital city of Yaoundé, she is determined to learn about her culture and integrate into village life.

As Marie-Madeleine beats the real African drum on her enthronement day, the gentle sounds signal a break with tradition. It is the dawn of a new era in the village of Nkol Ngock I; a Woman will be their traditional leader. Residents are optimistic that she will bring much needed development to the village.

BIOGRAPHY

Florence Ayisi is Professor of International Documentary Film. She teaches film history, theory, creative documentary film practice, transnational cinemas, cultural representations. She is also an award winning documentary filmmaker, presenting rare insights and affirmative aspects of African people and their culture from a Woman-centred and Pan-African perspective. She has made films in Cameroon and Tanzania, including films such as Sisters in Law (co-directed with Kim Longinotto, 2005), Zanzibar Soccer Queens (2007), Zanzibar Soccer Dreams (co-directed with Catalin Brylla, 2016). Her films have won numerous prestigious film awards including PRIX ART ET ESSAI at Cannes film festival; Grierson Award for Best Documentary on a Contemporary Issue; Audience Award at International Documentary Festival Amsterdam (IDFA); and Peabody Award in USA.

Florence Ayisi has taught film and media studies at several Higher Education institutions (HEIs) in the U.K. for over 20 years, including University of Sunderland, Coventry University, University of Glamorgan and the University of Wales, Newport.
(Source: http://staff.southwales.ac.uk/users/6797-fayisi01)


IIFF 2018 – International Images Film Festival for Women (Harare) : H'na Barra (Us, Outside), Bahïa Bencheikh-El-Fegoun, Meriem Achour Bouakkaz, Algeria


International Images Film Festival
for Women
(Harare) 

H'na Barra (Us, Outside) (2014)

Bahïa Bencheikh-El-Fegoun
Meriem Achour Bouakkaz
Algeria

SYNOPSIS

A male public space, women’s bodies that disturb.
Neither men nor women know what to do with this female body, so it gets veiled.

This film is the encounter between women in a quest for meaning who question themselves to confront their individual histories.

Who are they today faced with a society rife with confusion that “does not know what to do” as they are present in ever greater numbers in this public space?

A society permeated by religious convictions on the one hand and by ignorance on the other that makes women a permanent target.

BIOGRAPHIES

Bahia Bencheikh El-Fegoun
Geologist by training, she started in cinema as assistant director. In 2007, she enrolled in courses in editing followed by film directing. She has made three documentary short films, including C'est à Constantine, which was selected in several festivals and received a special mention from the jury at Ciné Sud.

Meriem Achour Bouakkaz
She studied veterinary medicine and in 2007 directed her first film Harguineharguine, which won several awards, including the first prize at the festival Ciné Sud. She is studying documentary film production in Canada.


19 August 2018

IIFF 2018 – International Images Film Festival for Women (Harare) : Aya, Moufida Fedhila, Tunisia

IIFF 2018

International Images Film Festival
for Women
(Harare) 

Aya (2018)
Moufida Fedhila
Tunisia 



SYNOPSIS

Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family.

BIOGRAPHY 

Moufida Fedhila, who was born in Tunisia, lives and works between Paris and Tunis, hence, creating a passage between cultures and territories. She navigates within a limitless space in which she questions, pushes, journeys.

She graduated from the European School of Art of Brittany and studied philosophy at the University of Sorbonne and theater at the University of Caen before pursuing film directing in Paris.

18 August 2018

International Images Film Festival for Women - Harare, Zimbabwe

INTERNATIONAL IMAGES FILM FESTIVAL
FOR WOMEN
2018
FESTIVAL DATES: August 24th to 31st, 2018 in Harare

IIFF is an internationally recognized festival held to inspire positive images of women, interrogate, debate and celebrate the world of women, as well as the communities that women live in through films that exhibit gender sensitive narratives.

IIFF was founded in 2002 by Women Filmmakers of Zimbabwe in response to the proliferation of beauty contests at that time. Each year, a selection of films is featured to interroglate, debate and celebrate the resilience of women against many odds and nevertheless their contribution to society and history.

The idea of a woman's film festival came to mind because gender is really one of the components of film that we need to look into very closely to see how films are affecting our world, and affecting our behaviour, especially our behaviour in gendered relationships.--Tsitsi Dangarembga, Festival Founder.


FILM LINE UP FOR 2018

A Beautiful Woman, Seyed Sajad Moosavi, Iran 
A Serenade for Fanny, Monique Marmodée, Germany, 2018
Accra Power,  Sandra Krampelhuber & Andrea Verena Strasser, Austria, 2017
Because Of The War, Toni Shapiro-Phim, USA, 2018
Bhizautaure Raarthur, Tafadzwa Chiiriga, Zimbabwe, 2018
Burkinabé Rising, Iara Lee, Brazil, 2017
Chicks on Boards, Dörthe Eickelberg, Germany, 2018
Outreach Film: Damaru, Agbor Obed Agbor, Cameroon, 2014
Outreach Film: E Do (Enough), Nkanya Nkwai, Cameroon, 2016
Elevate, Hamida Issa, Qatar, 2017
Growing Up, Clara Martínez-Lázaro, Spain, 2018
Leaking Blue (Azul vazante), Julia Alquéres, Brazil, 2017
Leprosy, Alimohammad Eghbaldar, Iran, 2018
Making Ends Meet, Thomas Muziyirwa, Zimbabwe, 2018
Marriage is a Choice, South Sudan
Online Shopping, Ghasideh Golmakani, Iran, 2017
Rise from the Ashes, Gracie Phoenix, USA, 2018
Outreach Film: Ruvimbo's Wedding, Ben Mahaka, Zimbabwe, 2017
She Is King, Gersh Kgamedi, South Africa, 2017
Somebody Clap For Me, Luciana Ceccatto Farah, Brazil, 2018
Tamala, Goodhope Elieskia, Tanzania, 2017
The Sound of Silence, Bina Paul, India, 2017
Tyranny Of Distance, Gabriel Diamond, USA, 2017
Underpressure, Lilli Schwabe, Austria, 2017
Veer, Mariama Slåttøy and Sveinung, Norway, 2017
Veil Done, Juhi Bhatt, India, 2018
Volar (Flying), Bertha Gaztelumendi, Spain, 2017

SYNOPSES

A Beautiful Woman, Seyed Sajad Moosavi, Iran 
A beautiful woman and an uncertain future loom ahead of two girls and a court.

A Serenade for Fanny, Monique Marmodée, Germany, 2018
A Serenade for Fanny“ is a modern, inventive and entertaining documentary film about personal identity and sense of belonging, the bond between generations and the power of big dreams.
Together with the charming Fanny (90), who was resettled from former Yugoslavia at the beginning of the Second World War and her ambitious granddaughter Alex (30) from Germany, we invite the audience on a journey through the life of two powerful ladies of totally different generations. They will learn about female role models, and how they have changed in the last century. They will get a feeling about what it means to loose home, family and to be forced to build up a new existence in a foreign country. And they will be inspired by how strong your personal impact on life can be when you have the strength to carry on. “A Serenade for Fanny“ should encourage everyone to show persistence in hard times, to break free of social conventions and to believe in dreams when they come to you - no matter how old you are!

Accra Power,  Sandra Krampelhuber & Andrea Verena Strasser, Austria, 2017
Accra Power provides an eclectic mix of perceptions of power in one of many thriving urban settings Africa’s. It outlines creative and artistic strategies of young Ghanaians situated at the crossroads of tradition and various belief systems, high technological and economic growth, infrastructural deficits and current energy crisis.

Aya, Moufida Fedhila, Tunisia, 2018
In Tunis a smart little girl Aya, lives with her Salafist parents. But one day a special event disrupts the life of this family. And then Aya manages to save her family from fanaticism.

Because Of The War, Toni Shapiro-Phim, USA, 2018
In both West Africa and North America, four Liberian women have been using their music to address injustice and inspire action for social change. Survivors of Liberia’s civil wars, they are accomplished, brilliant singers – as well as mothers, refugees, immigrants, Africans – who haven’t stopped contributing positively to the world, no matter the obstacles.

Because of the War documents the power of traditional songs to make meaningful connections between and among people, and to help re-build communities impacted by violence and migration.

Bhizautaure Raarthur, Tafadzwa Chiiriga, Zimbabwe, 2018
A grieving mother seeks to remove a curse brought on by her son's suicide, while her younger sons grapple to understand the meaning of his death.

Burkinabé Rising, Iara Lee, Brazil, 2017
Burkinabè Rising, a new documentary from Cultures of Resistance Films, showcases creative nonviolent resistance in Burkina Faso. A small, landlocked country in West Africa, Burkina Faso is home to a vibrant community of artists and engaged citizens, who provide an example of the type of political change that can be achieved when people come together. It is an inspiration, not only to the rest of Africa but also to the rest of the world.

Through music, film, ecology, visual art, and architecture, the people featured in this film are carrying on the revolutionary spirit of Thomas Sankara. After assuming the presidency in 1983, Sankara was killed in a 1987 coup d'état led by his friend and close advisor Blaise Compaoré, who subsequently ruled the country as an autocrat for twenty-seven years. In October 2014, a massive popular insurrection led to his removal. Today, the spirit of resistance is mightier than ever in Burkina Faso.

In the fall of 2016, director Iara Lee traveled throughout the country to film Burkinabè Rising. Through this journey, she met a remarkable cast of artists, musicians, and activists who are using the country's artistic traditions to propel forward a message of resistance: Joey le Soldat, a rapper, infuses his lyrics with references to the struggles of the impoverished youth in Ouagadougou, the country's capital, as well as those of the farmers who toil in the country outside. Marto, Burkina Faso's most well-known graffiti artist, turns barren city walls into colorful murals decrying injustice. Malika la Slameuse, a women's rights activist, performs slam poetry that offers a feminist perspective on a male-dominated art form. Serge Aimé Coulibaly uses dance as a form of political resistance, with movement borne from a need to speak out and take action.

In addition to profiling individual artists, Burkinabè Rising documents a festival of recycled art and interviews groups of farmers who are standing up to the incroachment of corporate agriculture. Displaying a panorama of creative resistance, the film shows how the resurgent Burkinabè pursuit of peace and justice manifests itself through cultural expression, permeating every aspect of daily life.

Chicks on Boards, Dörthe Eickelberg, Germany, 2018
Surfing is like an ode to a life in freedom. But the freedom experienced between ocean and sky runs into its limits on land. Women on surfboards are considered an insult across many cultures. But there are a few who go surfing anyway: Chicks on Boards. Because Surfing is more than a sport: it’s a movement.

Outreach Film: Damaru, Agbor Obed Agbor Cameroon, 2014
From the abyss of despair, a young deaf girl strives to achieve her earnest desire for special education. But first, she has to overcome the eccentricities of her society.

Outreach Film: E Do (Enough), Nkanya Nkwai, Cameroon, 2016
E Do is a story of domestic violence following the life of a little girl, living in a chaotic household with duelling parents. The effect of this trauma follows her though scarring here physically and emotionally until she becomes the unintended victim.

Elevate, Hamida Issa, Qatar, 2017
After a hard day’s shopping, Latifa, a rude and vain woman and her long-suffering maid Rosie get trapped in an elevator. Already haughty and dismissive, Latifa becomes downright nasty in her treatment of Rosie, even going so far as to blame her for the mechanical failure. This brings emotions to a head, and Latifa goes on a journey in her mind, in which she confronts her own egotistical nature and rediscovers the lessons of humility and respect she learned as a child.

Growing Up, Clara Martínez-Lázaro, Spain, 2018
Emma wakes up in her thirties to find herself a loser when her best friend Lola asks her to be the guardian of her about to be born child.

H'na Barra (Us, Outside), Bahïa Bencheikh-El-Fegoun, Meriem Achour Bouakkaz Algeria, 2014
A male public space, women’s bodies that disturb.
Neither men nor women know what to do with this female body, so it gets veiled.
This film is the encounter between women in a quest for meaning who question themselves to confront their individual histories.
Who are they today faced with a society rife with confusion that “does not know what to do” as they are present in ever greater numbers in this public space?
A society permeated by religious convictions on the one hand and by ignorance on the other that makes women a permanent target.

Leaking Blue (Azul vazante), Julia Alquéres, Brazil, 2017
A mother looks for her son in a hospital bed. She finds her daughter instead. Between shores and tides, blue leaks from the core.

Leprosy, Alimohammad Eghbaldar, Iran, 2018
On his wedding night, and with his honour at stake, the groom drags her bride to hospital to figure out, through medical diagnosis, the thing that is usually supposed to happen on such a night, BUT DOESN'T.

Making Ends Meet, Thomas Muziyirwa, Zimbabwe, 2018
A documentary on survival in Zimbabwe a country stricken by a high unemployment rate of about 95% which is the highest in the world. People live by resisting law enforced by authorities and survive by any means possible just to make ends meet. The film delves deep on how Zimbabweans are managing to survive in hard economic condition that has been prevailing for the past 10 years. The film follows activists and general citizens as they stage protests against hostile government policies in pursuit of a better Zimbabwe. The police are waging war from all sorts of battle fronts, but an up rise has begun mounting pressure on Robert Mugabe’s government. Series of protests are imaging from deferent pressure groups but the government is in no mood to negotiate, but respond with crackdowns. For the Police and the municipality, it’s a fight to maintain order and sanity in this what was once called the Sunshine City, while for the citizens its scuffle for survival in a country that is reeling with High unemployment rate (of over 80 percent) and the economy is seemingly on a free fall.

Marie Madeleine: A Female Chief, Florence Ayisi, Cameroon, 2018
A woman is to be enthroned as chief in Nkol Ngock I, a small village in Cameroon. This is a rare occurrence in most African societies where the position of chief is customarily handed down from father to son. This documentary presents a rare glimpse into a community undergoing change. Social attitudes towards gender equality are changing, as men openly acknowledge and speak about the importance of women in development. One man says "women are doing more to encourage development than men. I believe a female chief will bring new things."

Even though some villagers consider Marie-Madeleine a 'stranger' because she lives in the capital city of Yaoundé, she is determined to learn about her culture and integrate into village life.

As Marie-Madeleine beats the real African drum on her enthronement day, the gentle sounds signal a break with tradition. It is the dawn of a new era in the village of Nkol Ngock I; a Woman will be their traditional leader. Residents are optimistic that she will bring much needed development to the village.

Marriage is a Choice, South Sudan
This is a story from South Sudan about a university girl who wants to get married, but her father cant allow her to marry from the tribe she has loved. She tried to convince her father. Will she be granted permission to married from that tribe?

Mukanya, Siza Mukwedini, Zimbabwe, 2018
From a past marred by drunkenness and violence, the village menace, Mukanya, embarks on a journey to redeem himself by saving his son, who has become a reflection of Mukanya’s failures as a father. This is the journey of two men transforming into fathers. This film inspires conversations around the state of Zimbabwean as well as African fathers in the face of patriarchy and changing perspectives of what fatherhood is all about. A Conversations with our Fathers Project.

Nyasaland, Joyce Mhango Chavula, Malawi, 2018
A very successful and independent young woman returns to her village to see her ill father only to find him dead and buried. What follows is her encounter with the hyena that is terrorising the village and it happens to be a human being. With the help of a young man she takes the hyena head on and saves her village.

Online Shopping, Ghasideh Golmakani, Iran, 2017
Donia, a young girl wants to immigrate for continuing her studies abroad. Before she leaves Iran, she tries to sell her belongings online. One of the custumer is a man who enters in her house and behaves strangely...

Rise from the Ashes, Gracie Phoenix, USA, 2018
This film is based on a true story about Narcissism, the marriage that she suffered through and the journey of how she met her ex- husband.

Outreach Film: Ruvimbo's Wedding, Ben Mahaka, Zimbabwe, 2017
Ruvimbo's wedding is a short film about child marriages. The film was written and directed by Ben Mahaka with music by Hope Masike and poetry by Chirikure Chirikure.

She Is King, Gersh Kgamedi, South Africa, 2017
Khanyisile is a talented Singer/Dancer/Actor who wants to be a star. She travels from her home in Nongoma to audition for a new musical to be staged at the Joburg Theatre based on the life of Zulu Queen Mkabayi ka Jama, King Shaka’s aunt.

Will she be able to keep up with her more seasoned fellow performers, avoid the jealous machinations of the aging leading lady and survive the punishing rehearsal schedule to make it to opening night and shine like the star she is?

“She is King” is a joyous celebration of Zulu culture in a glossy contemporary setting, showing off Joburg as the "Broadway of Africa". Think “Smash” meets “Lion King”.

Somebody Clap For Me, Luciana Ceccatto Farah, Brazil, 2018
This poetic rollercoaster ride chronicles Ugandan youth reclaiming their right to a voice by bringing village bonfire traditions to an urban setting.

One of these young freedom of speech activists is Ugly Emcee, a social worker who also happens to be a grandson of the late dictator Idi Amin Dada.

Through an unsettling meta-layer, these eclectic individual portraits combine to form a vision of a country trying to shed its past and build a more democratic reality, despite the conservative forces latching on to power.

Outreach Film: Sound Of Tears, Dorothy A. Atabong, Canada, 2015
A young woman from a patriarchal community is forced into an arranged marriage to save the family honor. Amina and her family have fled the city to escape her estranged lover Josh and the stamp of shame from their patriarchal community; but Josh tracks them down.

Tamala, Goodhope Elieskia, Tanzania, 2017
After her parents die, Tamala (15) is taken from the village to go work in the city where she struggles with violence and sexual harassment. She then decides to turn to the street for little comfort. The streets aren’t so nice for street children but Tamala fights her best fight in order to return to her grandmother back in the village.

The Sound of Silence, Bina Paul, India, 2017
The Samaagathi Report on extreme gender discrimination on campuses across Kerala created a furore, as most Vice Chancellors went into denial, calling it false and prejudiced. The Film travels through campuses, speaking to women, providing glimpses into their lives, experiences of routine discrimination and the culture of silence around the injustice, while discovering that their spirit cannot be contained!

Tyranny Of Distance, Gabriel Diamond, USA, 2017
Fifteen years of civil war in Liberia has resulted in one of the world’s worst doctor shortages and cut off the country’s rural poor from basic healthcare. Community health workers trained and equipped by the non-profit Last Mile Health are working to deliver lifesaving health services to the 1.2 million Liberians living in the most remote reaches of the country.

Underpressure, Lilli Schwabe, Austria, 2017
Clara, an aspiring gynecologist, is enthusiastically supporting her patients, no matter if they are bringing a child into the world or are making the decision to have an abortion. At the same time, she is attempting to be a good wife and loving mother to her two little children. However, with the increasing pressures of daily life, her self imposed belief systems are beginning to falter, her duties in the clinic suddenly seem insurmountable and her family life is slipping away.

Veer, Mariama Slåttøy and Sveinung, Norway, 2017
Virvel / Veer is a poetic dance short film about ruling and being ruled.

Veil Done, Juhi Bhatt, India, 2018
Shah Jahan is fed up of people calling her fat. Mehru Nisha longs to step out of the house. Afroz Jamala is terrified of growing numbness in her hands. Three women from Nizamuddin basti, Delhi, take a decision that sets them on a journey to find themselves – they join a gym.

Volar (Flying), Bertha Gaztelumendi, Spain, 2017
Volar (Flying) gathers nine survivors of gender violence, among whom there is an architect, a university professor, a cleaning lady and a student. They all share a weekend in the countryside, in the heart of the Basque Country. That is where we gather their testimonies, their conversations on their past of violence as well as a message of hope and their experience overcoming what they had gone through.