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 April 2018

Marie-Clémence Andriamonta-Paes : “Fahavalo, Madagascar 1947” crowdfunding campaign | campagne KissKissBankBank

Marie-Clémence Andriamonta-Paes :
“Fahavalo, Madagascar 1947”





PRESS RELEASE | COMMUNIQUÉ DE PRESSE

Our new film "Fahavalo, Madagascar 1947" by Marie-Clémence Andriamonta Paes is almost completed. The journey continues with the last push. The final step in making the film happen is getting the funds to get the rights for the archives which will allow the film to screen for the next 10 years. We need your help to make that happen. Your contributions will allow us to get the archives rights that will let us screen the film for the next 10 years. We cannot complete this without your help. We put together a KKBB campaign to help raise the funds. The campaign will give you an intimate look inside the film's journey and it will give you an opportunity to get to know the team and why Madagascar 1947. Thank you for your commitment. 

JOIN THE KISSKISSBANKBANK CAMPAIGN

Fahavalo, Madagascar 1947" est un long métrage documentaire écrit et réalisé par Marie-Clémence Andriamonta-Paes. Le film est presque terminé. Nous sommes en post-production, et nous avons besoin de votre soutien. Une campagne de financement participatif est en cours pour payer les droits des archives pour pouvoir diffuser le film dans les salles en France et à Madagascar, et dans les festivals pour les 10 prochaines années.

REJOINDRE LA CAMPAGNE KISSKISSBANKBANK


SYNOPSIS

They were called fahavalo, “enemies”, as they rebelled against French colonial authorities in 1947, only armed with spears and talismans. The film is a journey across Madagascar in search of the last witnesses of a long forgotten rebellion.

A Madagascar en 1947, les rebelles insurgés contre le système colonial sont appelés fahavalo, «ennemis» de la France. Les derniers témoins évoquent leurs longs mois de résistance dans la forêt, armés seulement de sagaies et de talismans.


BIO

Of Malagasy and French nationality, Marie-Clémence Andriamonta Paes spent her childhood in Madagascar. She is a filmmaker and producer of documentaries that have received awards in international festivals (Cinéma du Réel, Liepzig, Friborg, Festival Jean Rouch ...). With her husband Cesar Paes, they have produced An Opera from the Indian Ocean, Saudade do Futuro, Awara Soup, Songs and Tears of Nature, Angano ... angano, Tales from Madagascar. Fahavalo, Madagascar 1947 is her first film as a director, she was motivated by the desire to know about the history of the insurrection of 1947 in Madagascar. 

De nationalité malgache et française, Marie-Clémence Andriamonta Paes a passé son enfance à Madagascar. Elle est auteur et productrice de documentaires primés dans les festivals internationaux (Cinéma du Réel, Liepzig, Fribourg, Festival Jean Rouch...). Avec son mari Cesar Paes, ils ont signé notamment "l'Opéra du bout du monde", "Saudade do Futuro", "Le Bouillon d’Awara", "Aux guerriers du silence", "Angano… angano… Nouvelles de Madagascar""Fahavalo, Madagascar 1947" est son premier film en tant que réalisatrice, il a été motivé par la volonté de comprendre l'histoire de l'insurrection de 1947 à Madagascar.

16 April 2018

OUAGA FILM LAB #3 : Appel à Projets | Call for Projects - 2018

OUAGA FILM LAB #3 - 2018
Appel à Projets/ Call for Projects



Period of realisation from 20-29 September 2018

Période de réalisation du 20-29 Septembre 2018


Deadline for sending the files: 1 July 2018

Date limite d’envoi des dossiers : 1er Juillet 2018


The call for projects is open to African practitioners (who is a filmmaker from a West African country.

Le présent appel à projets s’adresse à des porteurs de projets africains (dont le réalisateur est ressortissant d’un pays de l’Afrique de l’Ouest) dans le domaine du cinéma.  



Ouaga Film Lab is a platform for gatherings between young talents from the continent and international consultants. The programme establishes a direct two-way dialogue: between the African talents themselves; and with professionals from the rest of the world, promoting networking and exchange around the difficulties inherent in film production both locally and internationally.

Ouaga Film Lab est une plateforme de rencontres entre des jeunes talents du continent et des consultants internationaux. Elle instaure un dialogue direct à double-sens : entre les talents africains eux-mêmes ; et avec des professionnels du reste du monde, favorisant la mise en réseau et les échanges autour des difficultés inhérentes à la production cinématographique tant au niveau local qu’international.



Registration is free and can be done online at www.ouagafilmlab.net
It must meet the criteria set out in the regulations and must be made before 1 July 2018 at 00:00 GMT.

L’inscription est gratuite et se fait en ligne sur le site www.ouagafilmlab.net
Elle doit respecter les critères énoncés dans le règlement et doit être faite avant le 1er Juillet 2018 à 00 heures TU.

12 April 2018

Sofia by/de Meryem Benm'Barek : Cannes 2018 - Un Certain Regard (Morocco)

Sofia by/de Meryem Benm'Barek
Cannes 2018 - Un Certain Regard
(Morocco)


Selection officielle | Official selection
Un certain regard



Image: dohafilminstitute.com

Director | Réalisatrice : Meryem Benm'Barek
Producer | Producteur : Olivier Delbosc
Production: Curiosa Films with/avec le soutien/support from/de Doha Film Institute (DFI) Qatar

Maroc | France | Qatar

Synopsis

[English]
Sofia lives with her parents in a modest apartment in Casablanca. While having lunch with her family one day, she is suddenly stricken with violent abdominal pain. Her cousin Kenza, a medical student, is feeling her belly when water starts running down her thighs: Sofia is about to give birth. On the pretext of Sofia having overeaten, the two women head to the hospital. Reluctant at first, the personnel eventually agree to take Sofia in, on the condition that she provide her marriage certificate before the next morning; otherwise they will alert the authorities. After Sofia gives birth, she and Kenza immediately leave the hospital in search of the child's father, launching themselves into a frantic nocturnal quest.

[Français]
Sofia vit avec ses parents dans un modeste appartement de Casablanca. Alors qu'elle mange avec sa famille, elle est prise d'une violente douleur abdominale. Son cousine Kenza, étudiante en médecine est liquéfiée : Sofia est sur le point d'accoucher. Prétextant que Sofia a trop mangé, les deux femmes foncent à l'hôpital. D'abord dubitatif, le personnel accepte de faire d'hospitaliser Sofia sous réserve qu'elle fournisse son certificat de mariage avant le lendemain matin ; à défaut ils devront alerter les autorités. Après l'accouchement de Sofia, elle et Kenza quittent immédiatement l'hôpital à la recherche du père de l'enfant, se lançant dans une quête nocturne désespérée.

Rafiki by/de Wanuri Kahiu : Cannes 2018 - Un Certain Regard (Kenya)

Rafiki by/de Wanuri Kahiu :
Cannes 2018 - Un Certain Regard (Kenya)

http://www.festival-cannes.com/fr/infos-communiques/communique/articles/la-selection-officielle-2018

Rafiki by/de Wanuri Kahiu
Selection officielle | Official selection
Un certain regard

Source: Rafiki Press Kit: 
www.wanurikahiu.com/s/Rafiki-Press-Kit-2017.pdf

Lire aussi en Français dans Le Monde : " Le premier film kényan jamais sélectionné à Cannes est une histoire d'amour lesbien "

Director: Wanuri Kahiu
Producer: Steven Markovitz, Big World Cinema
A Big World Cinema Production in co-production with Awali Entertainment (Kenya), MPM Film (France), Shortcut Films (Lebanon), Ape & Bjorn (Norway), Rinkel Film (Netherlands), Razor Film (Germany)

Rafiki is a love story about Kena and Ziki who live in a housing estate in Nairobi. The girls are unlikely friends and their fathers are rivaling politicians. When they fall in love and the community find out, the girls are forced to choose between love and safety.

Synopsis

Kena and Ziki live very different lives in the Highrise Estate in Nairobi. Kena works in her father’s shop and awaits the start of nursing school, while Ziki passes the days hanging out with her friends and making up dance routines. Their paths cross when their fathers run against each other for seats in the County Assembly, and they find themselves drawn to each other.

Soon their interest grows to affection and the girls find ways to love each other despite the ever-watching gaze of the neighborhood gossip and the homophobic sentiments of their community. However, once discovered by their family and attacked by the community, Kena and Ziki must choose between what they feel and what others want them to do.

10 April 2018

“Maki'la” by/de Machérie Ekwa Bahango, a/un film noir by/par Hassouna Mansouri (analysis/analyse)

“Maki'la” by/de Machérie Ekwa Bahango, a/un film noir by/par Hassouna Mansouri 

A collaboration with Africine.org, translated from French by Beti Ellerson. 


Maki'la by Machérie Ekwa Bahango is a genre film with aspects drawn from the streets of Kinshasa, the capital of the Democratic Republic of Congo. These streets and the children who live in them, cut off from all family and social ties, are often the subject of a great deal of imagined reality; treated as sensationalised subjects, full of miserabilism and pity. The young Congolese filmmaker, who has just completed her very first feature film, constructs this subject matter into cinematographic material.

In the gangster movie genre where the hero is most often a man, Machérie Ekwa Bahango breaks with this rule from the very beginning. The hero is Maki, a young woman who fights as best she can to survive in the streets of Kinshasa. Married to Mbingazor, the leader of a gang of youth, she decides to set off on her own, finding neither satisfaction in the lifestyle of this group or in her relationship. Sent on her path by fate is Acha, another teenage girl lost in a soulless, unsparing Kinshasa. Their encounter is an important factor in the transformation of Maki's character, strengthened by a sense of responsibility. The group evolves outside of any interaction with society; guided by its own laws, like gangsters and mafia members in noir films. For instance, the wedding, used only as a model, is celebrated between friends by imitating/caricaturing the references of religious ritual. Similarly, each gang member is baptised according to a social stereotype.

At a certain moment, something clicks in Maki's mind, prompting her to no longer tolerate her companions' mode of existence: constant idleness, spending all their time smoking and drinking. There are subtle hints on the part of the director regarding the impasse and immobility that suffocate Congolese society. Maki’s awakening/revolt emerges as a call for crucial change. Confronted with a system stronger than her, what can the young woman do? The revolving scenes of conflict, at times in direct combat with Mbingazor, who dictates the law, are like metaphors for social confrontations between a people eager for change and an illegitimate oppressive power.

When finally a glimmer of hope emerges, the monstrous actions of Mbingazor are fatal both for himself and for Maki. At the end of a physical fight between the two characters, Acha kills Mbingazor with a bullet from a pistol that Maki had seized from a client, at the same moment she is stabbed. Before shooting herself in the head, she reveals to Acha that the man she had just killed is none other than the brother she has been looking for. Acha is lost now more than ever before. She loses Maki, the only support system in her life, and she herself has put an end to the personal and ultimate hope of finding her brother, her dream of finally reaching a haven of peace. The separation from him is twofold; having realised that she had just been raped by her own brother. Herein is a dour overview of Congolese society. With what means is Acha going to face the challenges during the rest of her life? The memory of this bloody scene ending with fratricide, the money that Maki brought back, and that could/should have taken them out of the circle of poverty and violence, perhaps a child from incest and rape. Acha, like Congolese society, was not able to get out of the vicious cycle. Through a muffled cry of anger in the form of a film noir Machérie Ekwa Bahango seems to reveal that the spiral of despair continues.
Maki'la de Machérie Ekwa Bahango, un film noir par Hassouna Mansouri

Maki'la de Machérie Ekwa Bahango est un film de genre avec des composantes locales puisées dans les rues de Kinshasa, la capitale de la République Démocratique du Congo. Ces rues et les enfants qui y vivent coupés de toutes attaches familiales et sociales sont l'objet de beaucoup de fantaisie. Ils sont souvent traités comme sujets sensationnels et souvent même teintés de misérabilisme et de pathétique. La toute jeune cinéaste congolaise, elle en est à son tout premier long métrage, en fait un matériau cinématographique.

Lire l'intégralité de l'article @ http://africine.org/?menu=art&no=14427

05 April 2018

Crowdfunding: ATA NDELE de/by Malkia Mutiri

Crowdfunding: ATA NDELE de/by Malkia Mutiri



Description:

The film « Ata Ndele" was born from the need to present, in a less stereotyped way, Belgian characters of foreign origin. To do this, Malkia and Nganji wrote a story of love, friendship and power struggle evolving at each stage of the characters’ lives. The main challenge was to take as a point of departure an idea that is often described as an Afro-European narrative to then being able to question a fundamentally human problem, namely: What remains of a collective ambition when it conflicts with the evolution of our private life?

Le film « Ata Ndele » est né de l’urgence de présenter de façon moins cliché que d’habitude des personnages belges d’origine étrangère.  Pour ce faire, Malkia et Nganji ont écrit une histoire d’amour, d’amitié et de rapport de force évoluant à chaque étape de la vie des personnages. Le principal défi était de prendre comme point de départ une idée que l’on qualifie par raccourci de récit afro-européen avant d’arriver à interroger une problématique foncièrement humaine, à savoir : que reste-t-il d’une ambition collective lorsqu’elle entre en conflit avec l’évolution de notre vie privée ?

Bio : Malkia Mutiri

Co-producer, co-writer, director, director of photography.
After studying at  l'Ecole Supérieure des Arts "75", Malkia does photo and video reports before making music videos, notably for singer Soul T and rapper Zwangere Guy. "Miel", Malkia's first short film receives a special mention at the KVS Film Festival System D in December 2016. "Ata Ndele" is her second short film.

Co-productrice, co-scénariste, réalisatrice, directrice photo.
Après ses études  à l'Ecole Supérieure des Arts le "75", Malkia signe des reportages photos et vidéos avant de réaliser quelques clips musicaux, notamment pour le chanteur Soul T et le rappeur Zwangere Guy. Miel, le premier court-métrage de Malkia reçoit une mention spéciale au Film Festival System D au KVS en décembre 2016.  "Ata Ndele" est son deuxième court-métrage. 

Pour rejoindre la compagne kisskissbankbank pour ATA NDELE et la soutenir:

To join the ATA NDELE kisskissbankbank campaign and to make a contribution: 

04 April 2018

CINEFFABLE (Paris) 2018: Submissions are now open | Les inscriptions sont maintenant ouvertes !

CINEFFABLE (Paris) 2018: 

Submissions are now open
 Les inscriptions sont maintenant ouvertes !

Festival International du Film Lesbien
& Feministe de Paris

Paris International Lesbian
& Feminist Film Festival


Réalisatrices | Women Filmmakers




COMMUNIQUÉ DE PRESSE | PRESS RELEASE

Appel à films pour le 30e festival Call for films for the 30th festival

Les inscriptions sont ouvertes
Submissions are open

Vous avez jusqu'au mardi 15 mai pour nous envoyer vos films ! 
You have until 15 May to send your films

La 30e édition du festival se déroulera à Paris du 31 octobre au 4 novembre 2018.
The 30th edition of the Festival will take place in Paris from 31 October to 4 November 2018. 

Vous trouverez notre règlement et nouveau formulaire d'inscription en ligne sur cineffable.fr 
You will find the application rules and online entry form at cineffable.fr 

Court-métrages, long-métrages, fictions, documentaires, animations, films expérimentaux : toutes vos œuvres traitant de thèmes lesbiens et/ou féministes sont les bienvenues ! 
Shorts, full-lengths, fictions, documentaries, animations, experimental films: all your works on lesbian and/or feminist themes are welcome!

À vos caméras, mesdames ! | Grab your cameras, ladies!


03 April 2018

Film Africa 2018: Call for Submissions Open - Royal African Society Film Festival, London

Film Africa 2018
Call for Submissions Open  
Royal African Society Film Festival, London

PRESS RELEASE

Regular Deadline: 30 June 2018

Film Africa is an annual London film festival celebrating the best African cinema from across the continent and diaspora brought to you by The Royal African Society. Established in 2011, every year Film Africa brings diverse London audiences a high quality and wide-ranging film programme accompanied by a vibrant series of events, including director Q&As, talks and discussions; professional workshops and master classes; school screenings and family activities; The Industry Forum; and Film Africa LIVE! music nights. Film Africa also recognises and supports new film making talent through the Baobab Award for Best Short Film and the Audience Award for Best Feature Film.

The 2018 festival will take place in venues across London from Friday 2 to Sunday 11 November.

Film Africa aims to:

- Be the premier platform for African cinema in the UK, through our annual festival and year-round programming.

- Offer African and Diaspora filmmakers the opportunity to present their work to new audiences in London.

- Present culturally diverse London audiences an increased choice of film festivals.


Promote a better understanding of Africa through film, by stimulating debate around contemporary socio-political issues raised in the films we screen.

- Support African filmmaking through festival awards and initiatives.

- Build links with film festivals and organisations around the world to promote the main-streaming of African cinema internationally.

- Create new opportunities for exhibition, distribution and networking through our annual Industry Forum and events programme.


Film Africa accepts entries via online submissions platform FilmFreeway.com. FilmFreeway offers free HD online screeners, Vimeo and YouTube integration, and more. Click to submit your film: filmfreeway.com/festival/FilmAfrica. The deadline is 30 June 2018. 

23 March 2018

African Women in Cinema Blog Updates | Actualités - 23.03.2018 News around the Internet | Les infos autour de l’Internet


African Women in Cinema Blog
Updates | Actualités
23-03-2018

News around the Internet |
Les infos autour de l’Internet

Content | Contenu

African Women Filmmakers
Josza Anjembe
Angela Aquereburu
Amma Asante
Claire Diao
Festival Africain des Films de Femmes Cinéastes (FAFFCI)
Huguette Goudjo
Tiffany Haddish
Nadjibatou Ibrahim
Philippa Ndisi-Herrmann
Priscilla Nwanah
Monique Mbeka Phoba
Apolline Traoré


African Women Filmmakers
African women filmmakers breakdown barriers and challenge taboos. 08 March 2018. Emmanuelle Landais. dw.com

Josza Anjembe
J’ai decouvert la fiction comme si je decouvrais une planete. Par Falila Gbadamassi | Publié le 02/03/2018. Geopolis

Angela Aquereburu
Angela Aquereburu, la Shonda Rhimes togolaise. Intothechic. Leslie Muya. 19 février 2018. intothechic

Amma Asante
Amma Asante To Direct Drama Thriller ‘The Billion Dollar Spy’. 15 March 2018. Hollywoodsblackrenaissance.

Claire Diao
JCFA 2018 : qui est Claire Diao?. Assétou Maiga. 03-05-2018. Queenmafa.

Festival Africain des Films de Femmes Cinéastes (FAFFCI) 
La première edition du FAFFCI a porté ses fruits. 21 mars 2018. L’œil d’afrique.

Huguette Goudjo
Costumière de cinéma et fière d’être. 14-03-2018. EcranBenin.

Tiffany Haddish
Tiffany Haddish Talks About Upcoming TBS Comedy ‘The Last OG,’ the Oscars, & the Importance of Authenticity. K. Nicole Mills. 13 March 2018. Hollywoodsblackrenaissance.
Nadjibatou Ibrahim
Tout sur l’actrice béninoise Nadjibatou Ibrahim. 07 mars 2018. EcranBenin

Priscilla Nwanah
Producer extraordinare. Wocaf-instagram

Monique Mbeka Phoba
Master class à Isma. 08 mars 2018. Isma-benin.org.

Apolline Traoré
Burkina Faso director gives African women authentic voice
Joe Bavier. 05 March 2018. Reuters.

VIDEO:

Philippa Ndisi-Herrmann
https://vimeo.com/177446004
Trailer for Feature-length Documentary, New Moon, by Philippa Ndisi-Herrmann (2018).




LINKS | LIENS : AFRICAN WOMEN IN CINEMA BLOG

African Women Filmmakers break barriers, Josza Anjembe, Angela Aquereburu, Amma Asante, Claire Diao, Festival Africain des Films de Femmes Cinéastes (FAFFCI), Huguette Goudjo, Tiffany Haddish, Nadjibatou Ibrahim, Philippa Ndisi-Herrmann, Priscilla Nwanah, Monique Mbeka Phoba, Apolline Traoré

Akosua Adoma Owusu, Ngozi Onwurah, Cheryl Dunye, Kagendo Murungi 

Safi Faye, Grada Kilomba, Oulaya Amamra, Déborah Lukumuena, Maïmouna Doucouré, Aicha Macky, Marian Edusei

Djia Mambu, Sofia Djama, Rahmatou Keïta, Kis Keya, Anisia Uzeyman
Grada Kilomba, Jabu Nadia Newman, Safi Faye, Claire Diao, Lerato Mbangeni

Isabelle Boni-Claverie, Chinonye Chukwu, Mona Ngusekela Mwakalinga, Jabu Nadia Newman, Lineo Sekeleoane, Josza Anjembe, L'autonomisation des femmes: CNA Afrique (Cameroun)

Pauline Mvele Nambané, Samantha Biffot, Yveline Nathalie Pontier, Apolline Traoré, Dyana Gaye, Françoise Ellong, Penda Diouf, Nadia El Fani, Cheryl Dunye, Angela Aquereburu, Claire Diao, Rahmatou Keïta, Aïcha Macky

Mignotae Kebede, Mouniratou Lougué, Nicole Amarteifio, Ruth Kapinga, Nikyatu Jusu, Gabourey Sidibe, Ingrid Agbo

Tope Oshin, Lupita Nyong’o, Kaouther Ben Hania, Rungano Nyoni, Femmes en audiovisual (CNA), Arts Femmes Bamako, Aïssa Maïga

Naky Sy Savané, Adélaïde Tata Ouattara, Theresa Traoré Dahlberg

Juliet Asante, Amandine Gay, Ganiath Yaya, Khadidiatou Sow, Rosalie N’Dah

OkayAfrica: Hana Baba, Leila Day, Akosua Adoma Owusu, Bella Agossou, Comfort Arthur, Yvonne Orji

Cheryl Dunye, Yvonne Orji, Djia Mambu, Judy Kibinge, Mamounata Nikièma

Zanele Muholi, Rungano Nyoni, Mulheres negras no Audiovisual, Nike Kadri

Cheryl Dunye, Souad Houssein, Yaa Asantewa-Undp Award, Twiggy Matiwana, Jihan El Tahri, Judy Kibinge, Safi Faye, et al

Jihan El Tahri, Mis Me Binga (International Women's Film Festival-Cameroon), Zuriel Oduwole, Rama Thiaw

Ngozi Onwurah, Les Tibeb Girls de Bruktawit Tigabu, Danai Gurira, Issa Rae, Liyana, executive-produced by Thandie Newton, Claire Diao, Bruktawit Tigabu, Akosua Adoma Owusu

Janaína Oliveira: Mossane de Safi Faye, Lucie Memba Bos, Judy Kibinge, Aïssa Maïga, Kaouther ben Hania

Michelle Mboya, Jihan El-Tahri, Rungano Nyoni, Iman Kamel

Kadhy Touré, Tope Oshin, Samantha Biffot, Claire Diao, Rungano Nyoni, Kaouther Ben Hania, La Parole des femmes, Ng’endo Mukii

Awa Traoré, Rungano Nyoni, Twitter: Rihanna, Lupita, Issa, Ava, Nneka Onuorah, Amina Weira


African Female Filmmakers, Rungano Nyoni, June Givanni, Le Grand Débat: Un autre visage du cinema français : Claire Diao, Aset Malanda, Nina Melo, Josza Anjembe, Jihan El-Tahri, 

Tibeb Girls (Ethiopia), Katarina Hedren, La colère dans le vent d'Amina Weira, Ben and Ara by Nnegest Likké, Sarah Bouyain

Mahen Bonetti, Marie Philomène Nga, Women in Moroccan Cinema, Josza Anjembe, Serkadis Megabiyaw

Raja Amari, Mama Colonel (film), Theresa Traore Dahlberg, Rayhana Obermeyer, Apolline Traoré

Fatima Sissani, Amandine Gay, Fatoumata Diawara, Dada Stella, Maïmouna N’Diaye, Leyla Bouzid, Marguerite Abouet

African Film and Media -Three Women Making Films in Zimbabwe -Nollywood and Women, Stephanie Dongmo, Rwandan Women in Film, A Conversation with Tala Hadid, Afrique Plurielle TV5Monde : Alimata Salambéré, Dada Stella Kitoga, Monique Mbeka Phoba, In My Father’s Village by Tapiwa Kapuya

Stéphanie Dongmo, Nadja Harek, Oshosheni Hiveluah, Fatou Kandé Senghor, Laureates: Mashariki Film Festival Awards 2017 (Rwanda), Laureates: Zambia Film and Television Awards (ZAFTAs) 2017

Véro Tshanda Beya, Félicité (Alain Gomis) analyse, Issa Rae, Juliet Yaa Asantewaa Asante, Khady Sylla in Memoriam, Tsitsi Dangarembga, Rumbi Katedza, The Republic – a pilot series by Nicole Amarteifio


Kaouther Ben Hania, Jihan El-Tahri, Iman Kamel, Kis Keya, Judy Kibinge

22 March 2018

Cameroonian Women in Cinema, Visual Media and Screen Culture

Cameroonian Women in Cinema,
Visual Media and Screen Culture

Thérèse Sita Bella entered the world of cinema before most of the filmmakers that are recognised today as pioneers. A trailblazing journalist from Cameroon, she was also a pilot. In 1963, she directed Tam Tam à Paris, a 30-minute film documenting the National Dance Company of Cameroon during its tour in the French capital. It was featured at the first FESPACO, the PanAfrican Festival in Ouagadougou Burkina Faso, in 1969—then known as African Cinema Week—alongside the works of pioneers Mustapha Alassane (Niger), Urbain N'Dia (Cameroon), Ousmane Sembene (Senegal), Ababacar Samb (Senegal), Paulin Vieyra (Senegal), and Momar Thiam (Senegal). 

According to a short biography published in Amina Magazine in 1989, after producing the film, Thérèse Sita Bella worked in France from 1964 to 1965 during which she participated in the creation of the first African journal in France La vie africaine. Afterwards, while still in Paris she spent time at UNESCO, as well as participating in the creation of several French-language radio programs for African listeners for both BBC and Radio-Cologne. She was also correspondent for Voice of America, and the Radio Television Luxembourg, then known as the ORTF (Office de Radiodiffusion-Télévision Française), the French Radio. In 1967, she returned to Cameroon where she began working at the Ministry of Information and later as chief deputy at the Department of Documentation, followed by a stint at the Department of Cinematography. In the 1990s she founded the short-lived magazine entitled “Stars” focusing on culture and show business.

Thérèse Sita Bella had a long, productive career in radio and print journalism; during an interview with André -Marie Pouya of the French-language Amina Magazine in 1989, she stated: I continue to write at the present. I have some ideas, and it is never too late to write about them. If I do publish them, the purpose will be to inform and teach. Remember that I am also a filmmaker. I have many scripts that are lying idle that I would love to bring to fruition. I plan to retire soon and filmmakers are ageless. This will be my way to leave a message… And yet, she never made another film. According to the obituary by Jean François Channon, in February 2006 at 73 years old, she died, forgotten and virtually unknown in her own country.

Cameroonian writer, journalist, blogger, and cultural activist Stéphanie Dongmo asked about the foremother compatriot Thérèse Sita Bella in an interview with French film historian and scholar Brigitte Rollet who organised a colloquy celebrating 40 years of Francophone African women in cinema in Paris in 2012. She wondered why that moment was considered a historical landmark when the following year in 2013 would mark the 50th anniversary of Tam Tam à Paris. Interesting question! Brigitte responded: It is true that there was Sita Bella but the films of Sarah Maldoror [the honoree] and Safi Faye have left their mark [they both directed their pioneering work in 1972]. I don't think that the same thing could be said about the film of Sita Bella because it was less known, most people are not even aware of it, I don't even known where to view it…. By organising the colloquium in the physical space of the BNF (National Library of France), I wanted to also highlight the problem of preserving a cinematographic cultural heritage by recalling that there are films that have been lost.

Thus, as we recognise her accomplishments at conferences and in articles about women in the history of African cinema, it is important to also emphasise that African cultural producers must struggle nonetheless to produce and work. And in the case of Thérèse Sita Bella, her film appears to have vanished—only to be remembered in the literature. And with the increased interest in Africa’s pioneers in cinema, one may ask how this ground-breaking journalist, cineaste, pilot, descended so deeply into obscurity, having defied early in her career at 30 years old, her own assessment of her place as a filmmaker, asserting: “you know cinema is not a woman's business." (1)

Fortunately, Cameroonian women who follow Thérèse Sita Bella’s footsteps as cultural producers are getting more visibility and hopefully will have a more enduring legacy. A decade and a half after the emergence of Thérèse Sita Bella in the chronicles of African cinema, other women of Cameroon followed, training to become directors of the moving image. Blandine Foumane (Ngono Ambassa), who studied filmmaking in Paris from 1977 to 1982, returned home to work at the national office of cinema. Later she moved to the television office during which she produced 15-minute films. From 1986 to 1989 she created her first series entitled Silence on joue. (2)

Burkinabé film critic Clément Tapsoba observes that ten women graduated from the Centre de formation de l’information de Yaoundé in 1988. Among this cohort of women at the training centre of the newly created national television, Margaret Fombé Fobé made her mark with her television programme Portraits de femmes in 1989, perhaps already inspired by the ground-breaking work of her elder of the moving image. She had this to say about her objectives for producing empowering images of women: “It appeared to me very early on that images made by women about women could be used to break down taboos and encourage women to assert themselves.” (3)

During the same period, Rosine Kenmoe Kenyou and Rosalie Mbélé Atangana produce women-focused series beginning in the late 1980s and early 1990s. Designer, filmmaker and producer Yolande Ekoumou Samba has been at the Cameroon Radio Television since 1994, where she has managed the Fictions Department for many years. She has produced numerous productions: films, sitcoms, series, etc. In 2016, she wrote the book Faire un Film de fiction : à l’intention des Profanes, Amateurs ou Débutants (To make a fiction film : for laypersons, enthusiasts or beginners) – Cameroun | Cameroon, Editions Alternative. Mary-Noël Niba was trained in cinema at ESRA in Paris. Recruited at the CRTV in 1992, she returned to Cameroon, beginning her career as director of news programmes. She has occupied posts at the higher echelons of the national television: Deputy Director of Production and Deputy Commercial Director of Marketing and Publicity. Mary-Noel Niba is currently in charge of public relations for the Cameroon Embassy in Paris, and like many other African women in cinema she wears other hats, that of independent filmmaker and executive producer.

Annette Angoua Nguéa, communicator, filmmaker and lecturer-researcher, is a pioneering woman in the research and study of Cameroonian cinema, beginning her studies in the late 1980s. She holds a Master’s from the Université de Nancy II, France, obtained in 1990 for her thesis "Les infrastructures cinématographiques en France en 1945" (Cinematographic infrastructures in France in 1945), she obtained a DEA in 1991 for the study entitled "Le rôle de l’Etat dans la production cinématographique camerounaise" (The Role of the State in Cameroonian Film Production), University of Strasbourg - France; she completed her doctoral thesis,  "La Production cinématographique camerounaise : le rôle de l’Etat et du secteur privé (Cameroonian Film Production: The Role of the State and the Private Sector, which she defended at the University of Paris III, Nouvelle Sorbonne in 2006. Her book, Repenser la production cinématographique au Cameroun, was published in 2012 (Paris: Harmattan). She is an important stakeholder in the knowledge production of Cameroonian cinema culture.

The first and second decades of the 2000s witness a flurry of cinematic activity indicative of the times, in the age of digital technology, and the focus of themes around identity, as well as the continued desire to network and outreach. While Joséphine Ndagnou’s Paris à tout prix | Paris or Nothing puts the spotlight on the Cameroonian diaspora of France, Ariane Astrid Atodji’s La souffrance est une école de sagesse | Suffering is a school of wisdom explores the diasporic identities within the African continent, as she searches for the Beninese identity that she does not know. She journeys on a road trip from Cameroon to Benin, in search of her paternal family, and hence, her Beninese roots.

Promoting and showcasing African women in cinema and their works has been a longstanding practice in African cinema history, with initiatives such as Fespaco and Fepaci as examples of its significance. Since the beginning of the second decade of the 2000s, there has been a proliferation of women-focused initiatives. Mis Me Binga (the eyes of women) International Women’s Film Festival is an important initiative for the promotion and empowerment of women in cinema, locally, continentally and internationally. Created in 2010, the goal of the festival is to promote the creativity of women from Cameroon, Africa and the whole world, to establish a network among women filmmakers from different parts of the world and to bring about a better understanding of different cultures and of each other. Filmmaker and producer Evodie Ngueyeli is the artistic director of the festival. The QIDEF Residency - Quand l'idée devient un film (When the idea becomes a film) is a successful initiative of Mis Me Binga. The residency "QIDEF" aims: to encourage engaging scripts that through their theme and form bring new perspectives to cinema; to support the emergence of talented filmmakers from countries of the southern hemisphere; to make the "QIDEF" a "label" of quality and rigor; to be a valuable exchange of ideas between scriptwriters from different backgrounds and cultures. By selecting and supporting already developed scripts, and supervising their development within a rigorous schedule, "QIDEF" hopes to provide every opportunity for these projects to find artistic and financial partners. Similarly, ADAMIC (Association des Dames d'Image du Cameroun) founded in 2011 and presided by Elise Kameni has as its objective to promote and empower Cameroonian women in cinema. Another cinematic initiative is the International multicultural film festival of Ngaoundere, founded by Arice Siapi, who wears several hats, also as filmmaker and producer.

Like Sita Bella, who first gained recognition while working in diasporic space, there are cultural producers and thinkers of the second and third generation who have been cultivating their work beyond the boundaries of Cameroon. Pascale Obolo who has a pan-African approach to her art has lived outside of Cameroon since adolescence, but is very much connected to African-centred issues that she brings to her work. Osvalde Lewat circulates between the local Cameroonian scene and diasporic spaces and beyond, negotiating languages, diverse histories and cultures, as well as the moving image and photographic practices. Véronique N. Doumbé, a long-time New York resident, extends her imaginary to universal themes as well as African and U.S.-focused issues. Actress Constance Ejuma who was born in Cameroon and grew up in the United States, like many African women makers, plays multiple roles within the world of cinema. She is also a producer and plans to direct her own film. Similarly, U.S.-based Ellie Foumbi, who is also a producer, relates the experiences of an African American Mennonite for the subject of her thesis film.

French-born Josza Anjembe’s work is indicative of a generation born in the west of African parents who focus their lens on issues related to their country of birth such as her Cesar-nominated film French (Le bleu blanc rouge de mes cheveux), about the desire to acquire French citizenship. Françoise Ellong, who came to France as an adolescent, has a long list of cinematic accomplishments. She is representative of the millennial generation of African makers, who are transnational, multi-lingual and have digital-age savvy embedded within their imaginary.

Florence Ayisi, Frieda Ekotto and Nathalie Etoké whose cultural knowledge production in African film criticism is making a significant contribution to African women cinema studies, work in the Cameroonian diaspora. Frieda Ekotto and Nathalie Etoké teach in the U.S. academy—University of Michigan and Connecticut College respectively, while Florence Ayisi holds a post at the University of South Wales in the United Kingdom. Also like Sita Bella who used filmmaking as a means of communication in her profession as journalist, Ayisi, Ekotto and Etoké employ filmmaking as a tool in their academic work and research.

Following is an impressive list of Cameroonian women in cinema, visual media and screen culture including, filmmakers, producers, critics, and scholars who live and work in Cameroon and the Cameroonian diaspora:

Marie Solange Amougou, Annette Angoua Nguéa, Josza Anjembe, Eka Christa Assam, Dorothy A. Atabong, Rosalie Mbélé Atangana, Astrid Ariane Atodji, Florence Ayisi, Françoise Baba, Therese Nathalie Bell Seppo Eboue, Joséphine Bertrand-Tchakoua, Princess Manka Bridget, Agnès Djuimala, Stéphanie Dongmo, Véronique N. Doumbé, Hélène Ebah, Germaine Ebelle, Constance Ejuma, Yolande Ekoumou Samba, Françoise Ellong, Elisabeth Eteme, Nathalie Etoké, Carine Ezembe, Olive Ketsia Fodjon, Amboise Fogue, Estheline Sandrine Fomat, Margaret Fombé Fobé, Blandine Foumane, H. Carine Guekep, Delphine Itambi, Konham Augustine Kamani, Elise Kameni, Francine Kemegni, Dovie Kendo, Rosine Kenmoe Kenyou, Nancy Kienyo, Mireille Idelette Kouyembous, Patricia Kwende, Osvalde Lewat, Werewere Liking, Florane Malam, Gaêlle Laure Mawamba, Rosine Mbakam, Patricia Moune Mbede, Jerose Chantal Mbongue, Henriette Medoung, Sarah Muenge Nkwanyuo, Joyce Naah, Joséphine Ndagnou, Agnès Ndibi, Anne-Marie Ndjigi, Marculine Ngebe, Evodie Ngueyeli, Charlotte Ngo Manyo, Anne Ngu, Sandrine Ngueffo, Mary-Noël Niba, Dorine Nina Nyabeyeu, Florence Nkeng, Chantal Julie Nlend, Marie Désirée Nogo, Pascaline Ntema, Hortense Nyamen, Pascale Obolo, Liliane Honorine Oyongho Botiba, Arice Siapi, Thérèse Sita Bella, Venessa Ebote Sona, Petra Sundjo, Florence Tan, Viviane Tassi Bela, A. Zintsem Yolande Welimoum, Chantal Youdom, Agnès Yougang.

(1) Cited in "l'Afrique filmée par des femmes" by Elisabeth Lequeret, Le monde diplomatique, August 1998. « vous savez, le cinéma n’est pas une affaire de femmes. »

(2) Nouveaux visages/New Faces: Blandine Ngono Ambassa, Ecrans d’Afrique, No. 1, 1992. Ecrans d’Afrique marks 1989 as the date of the series while the Repertoire des réalisateurs Camerounais gives the time frame from 1986-1989.

(3) Cited in “Margaret Fombé Fobé” by Clément Tapsoba, Ecrans d’Afrique, No. 8, 1994, p. 26-27.

Report by Beti Ellerson.  Updated to include the work of Annette Angoua Nguéa. 

Articles on Cameroonian women in cinema, visual media and screen culture from the African Women in Cinema Blog

17 March 2018
Featuring Arice Siapi -Report - Part III: Journées Cinématographiques de la Femme Africain de l'Image | African Women Image Makers Cinema Days 2018

27 June 2017
Mis Me Binga 2017 : Women's cinema celebrated in Cameroon for the 8th time | Le cinéma féminin célébré pour la 8ème fois au Cameroun by/par Pélagie Ng'onana (Africiné) 

31 May 2017
Yolande Ekoumou Samba : Faire un Film de fiction : à l’intention des Profanes, Amateurs ou Débutants (To make a fiction film : for laypersons, enthusiasts or beginners) – Cameroun | Cameroon

10 March 2017
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

03 March 2017
Luxor African Film Festival 2017: French | Le Bleu Blanc Rouge de mes cheveux (The blue-white-red of my hair) by/de Josza Anjembe (Cameroon | Cameroun)

09 February 2017
FESPACO 2017: Ashia by/de Françoise Ellong (Cameroon|Cameroun)

30 September 2016
Featuring Françoise Ellong - Report on Fokus: Sisters in African Cinema – Afrika Film Festival Cologne 2016

09 June 2016
Binga Talent 2016 - Call for applications | Appel à candidatures – Cameroon | Cameroun

06 May 2016
Ellie Foumbi launches the Indiegogo crowdfunding campaign for Zenith, a Columbia University Thesis Film (USA)

29 December 2015
Call for Applications | Appel à candidature - "QIDEF" 2016 : Scriptwriting residency, Cameroon | Résidence d'écriture, Cameroun

25 April 2015
Binga Talent 2015 : Call for Applications (Cameroon)

13 April 2015
The Mis Me Binga Association - Call for Applications: Scriptwriting residency "QIDEF", Cameroon

17 March 2015
LAFF 2015 - Astrid Ariane Atodji : La Souffrance est une école de sagesse | Suffering is a School of Wisdom

27 February 2015
FESPACO 2015 – Françoise Ellong: W.A.K.A - « pour son fils elle est prête à tout… » | “for her son she is ready for anything”

02 December 2014
With Ariane Astrid Atodji  - 11 African women filmmakers call upon Abdou Diouf to give effective support to Pan-African and Francophone cinema

28 November 2014
Constance Ejuma, producer-filmmaker-actor, discusses “Ben & Ara”, “Don’t Forget Me”, crowdfunding, and her Cameroonian identity

02 October 2014
W.A.K.A, a/un film by/de Françoise Ellong: analysis/analyse by/par Claudia Muna Soppo

23 September 2014
Examining the past to envision the future | Interroger le passé pour envisager le future by/par Stéphanie Dongmo on/sur Une feuille dans le vent – Leaf in the Wind by/de Jean-Marie Teno

13 November 2013
Frieda Ekotto: For an endogenous critique of representations of African lesbian identity in visual culture and literature

29 May 2013
Women in Film in Cameroon - Journal of African Cinemas : Celebrating 40 years of films made by women directors in francophone Africa

06 February 2013
FESPACO 2013 - Pascale Obolo : "Calypso Rose the lioness of the jungle"

09 January 2013
50 years ago Thérèse Sita-Bella directs "Tam Tam à Paris"

04 May 2012
"Le dos de la veuve" (the back of the widow), the politically committed documentary by Cameroonian Mary-Noël Niba, critique by Maturin Petsoko.

25 March 2012
Report on Mis Me Binga 2012, The third edition of the international women’s film festival

04 March 2012
Mis Me Binga 2012: The International Women’s Film Festival

21 December 2011
Françoise Ellong: “My passion for cinema follows me everywhere, all the time”

28 April 2011
Anne-Elisabeth Ngo-Minka: Le prix du sang (The price of blood) 

15 April 2011
Ariane Astrid Atodji: Koundi and National Thursday

02 March 2011
Mis Me Binga International Women's Film Festival 2011 2nd Edition

08 October 2010
A Conversation with Véronique Doumbe

03 October 2010
Foremothers in African Cinema: Thérèse Sita-Bella (1933-2006)

23 July 2010
Focus on Osvalde Lewat-Hallade


19 March 2018

Festival Africain des Films de Femmes Cinéastes (FAFFCI) | African Film Festival of Women Filmmakers - 2018 (Togo)

Festival Africain des Films de Femmes Cinéastes (FAFFCI) 
African Film Festival of Women Filmmakers 

The first edition of the Festival Africain des Films de Femmes Cinéastes | African Film Festival of Women Cineastes is being held in Lome and Agbodrafo, Togo from 10 to 20 March 2018. 

La première édition du Festival Africain des Films de Femmes Cinéastes se déroule du 10 au 20 mars 2018 à Lomé et Agbodrafo au Togo.

[English]
For this first edition a variety of activities are organised: Conferences, panels, consciousness raising sessions, a contest of documentary and fiction films made by all-women film crews, Masterclass entitled: “Mentoring women filmmakers for the advancement of the industry.” 

A key objective is to promote female leadership in cinema. Sonia Larissa Allaglo, head of the organising committee had this to say about the goals of the festival: 

"We want to involve women in the festivities of La Francophonie Day, to create and organise tutorials and support systems among established women filmmakers and newcomers in the field. 

[Français]

Pour cette première édition, des conférences débats sont organisées. Il est également prévu des séances de sensibilisation. Des masters class sur les conditions des femmes dans l’espace cinématographique vont être animés par des spécialistes. Le festival organise surtout un concours de films documentaires et de films fictions. La compétition met l’accent sur les films tournés par des équipes techniques essentiellement féminines, le lancement d’une collaboration entre les femmes cinéastes avancées et les débutantes et le démarrage d’un projet intitulé : Encadrement des Femmes Cinéastes pour la Promotion de l’Industrie.

Promouvoir le leadership féminin dans le cinéma

Le festival africain des films de femmes cinéastes permet d’améliorer la performance des femmes cinéastes et techniciennes. Les participantes échangent aussi sur le métier du cinéma et la promotion du leadership féminin dans les activités des femmes cinéastes.

Le FAFFCI permet également de célébrer « le mois de la femme avec une implication active des femmes cinéastes ». « Nous voulons impliquer les femmes aux festivités de la journée de la francophonie, créer et organiser les tutorats et le système d’appui entre les femmes cinéastes qui ont fait leurs preuves de même que les débutantes », affirme Sonia Larissa Allaglo, responsable du comité d’organisation.

Source:

Première édition du FAFFCI au Togo : L’association PIAC innove dans le 7ème art

Le Togo accueille le premier festival des films de femmes cinéastes

Togo : la première édition du Festival africain des films de femmes cinéastes prévue en mars à Lomé

Togo : Un festival pour valoriser les femmes cinéastes

Les femmes cinéastes du monde se donnent rendez-vous en mars à Lomé pour la 1ère édition du FAFFCI

Des femmes cinéastes du monde entier se donnent rendez-vous au Togo pour un grand festival, une première