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.

25 July 2018

Update | Mise à jour : African Women in Cinema Analysis and Scholarship | La recherche et l’étude sur les femmes africaines d’image


Update | Mise à jour

African Women in Cinema Analysis and Scholarship
La recherche et l’étude sur les femmes africaines d’image

at/au

Centre for the Study and Research of African Women in Cinema
Centre pour l'étude et la recherche des femmes africaines dans le cinema


This Reference Guide lists information relevant to Film/Media/Screen Analysis and Scholarship on African Women in Cinema: filmmakers, actors, producers, editors, organizers, critics, scholars and other cultural producers.

Ce guide de référence répertorie les informations relatives à l'analyse de films / médias / écrans et aux études sur les femmes africaines dans le cinéma : cinéastes, comédiennes, productrices, monteuses, organisatrices, promotrices, critiques, universitaires et autres productrices culturelles.

Amelia Umuhire : Congo-Rwanda webseries Tuko - Life in Goma (FR-EN-DE)

Amelia Umuhire :
Congo-Rwanda webseries
Tuko - Life in Goma (FR-EN-DE)

Amelia Umuhire (Rwanda/Germany), widely known for her Polyglot webseries, produced the Congo-Rwandan web series Tuko, Life in Goma in 2017.

Amélia Umuhire (Rwanda/Allemagne), bien connue pour la série web Polyglot, a crée en 2017, la série web Congo-Rwandaise Tuko, Life in Goma.


During a workshop sponsored by the Goethe Institut, artists from DR Congo and Rwanda jointly developed a webseries about the city of Goma. The city known for war and natural disasters is represented from an unusual perspective.

Tuko, Life in Goma is a web series, produced, directed and shot by ten young artists and future Congolese and Rwandan filmmakers. The series shows the city of Goma from the point of view of young creative people, who have surmounted the shared storied history of their country in order to create new narratives of a city generally known for war and natural disasters. In five episodes, the series explores the dynamic art scene, the specificities of the city, such as the similarities between church culture and bar culture, unemployment, urban myths. In addition, it draws intimate portraits of diverse inhabitants of the city. Through the experiences of local dance groups, the episodes invite viewers to plunge into the city's underground art scene and to see Goma from another perspective.
Under the creative direction of Rwandan filmmaker Amelia Umuhire, during a three-week workshop the series was produced and shot under the auspices of Yole Africa, Goethe Institut Kinshasa and Kigali.

She had this to say about her reason for creating the series and its importance to her:


“Being Rwandan and German, it is important for me to get to know my neighbours beyond stereotypes and prejudices. For historical reasons, Rwandans and Congolese feel more distant that we are in reality. During the workshop during which young people from Rwanda and Congo came together. We realized that we had different images of each other. We create images and it is important to see how the images of others are constructed, and from this understand how the image is based on prejudices. The purpose of the workshop was to create together images of a reality that is just as real to us.”

The Internet and social media have been important tools for the creation and success of the series:


“By using the Web series format, stories can be told in a way that does not take place via and other media. There is no restriction. Films can be viewed by anyone who has access to the Internet. Even here in Goma, there are more and more smartphones. This opportunity gives young people the opportunity to showcase their region from their own perspective, in contrast to the images that are often found in the media, where the emphasis is on poverty, suffering, violence. And this image ends up becoming a reality, to the point that even for us, inhabitants of the region, we internalize it too. The web series is unlimited, you do not need a lot of technology - it's really something revolutionary.”

Épisode 1: « Bientôt les messagers »
Pamela Tulizo, Victoire Ikitegetse, 4min30

Épisode 2: « Ajira »
Concorde Amani, Arnold Habyarimana, 4min59

Épisode 3: « Dawa »
Chamani Latouifa Feta Feta, Fiston Mudacumura, 3min09

Épisode 4: « Survive »
Giscard Twahirwa, Bernadette Vivuya

Épisode 5: « Ipseite Identique »
Promesse Kitakya, Elisabeth Utamuriza, 3min52

24 July 2018

ADAMIC (Association of Cameroonian women of the image) | L’ADAMIC (Association des Dames de l’Image au Cameroun) Presentation of the new officers elected in 2017 | Présentation du nouveau bureau élu en 2017

ADAMIC (Association of Cameroonian women of the image) | L’ADAMIC  (Association des Dames de l’Image au Cameroun)

Presentation of the new officers elected Présentation du nouveau bureau élu (in/en 2017

PRESS RELEASE | LA COMMUNIQUÉ DE PRESSE

I. PRESENTATION OF/DE L'ADAMIC 

ADAMIC (Association of Cameroonian women of the image) is a group of dynamic young women filmmakers working for the development of Cameroonian cinema made by women in particular. We are a group of talented and devoted Cameroonian women filmmakers who have together in association, to give the opportunity for women to professionalize as practitioners, in almost all sectors of cinema (production, directing, acting, cinematography, decoration, sound, makeup, costumes and administration, etc.).

L’ADAMIC  (ASSOCIATION DES DAMES DE L’IMAGE AU CAMEROUN) est un groupe constitué de jeunes Femmes cinéastes très dynamiques qui travaillent  pour l’essor du cinéma camerounais faites par les femmes en particulier. Autrement dit, Nous sommes un groupe de femmes Camerounaises cinéastes talentueuses et dévouées réunies en association, afin de donner la possibilité à la gente féminine de se professionnaliser cinématographiquement parlant. Nous nous exerçons dans presque  tous les secteurs d’activité du cinéma (production, réalisation, comédie, cadrage, décoration, son, maquillages, costumes et régie etc.).


II. CONTEXT OF CREATION | CONTEXTE DE CREATION

For a very long time Cameroonian women were not accorded the place to demonstrate their talent in the cinema, as this profession was deemed to be for men only. And often the women who did enter, ended up leaving or settling elsewhere.

Those who entered the national television training school paid huge sums for their training in order to be recruited for employment. For those who were not chosen and those who were self-trained were motivated to find work as best they could. Moreover, for a woman to find an internship on a film set was a rare feat.

Faced with this concern, the Goethe Institute under the leadership of Mrs. Irene Bark opened its doors, by offering training workshops specifically for women. This allowed us to professionalize ourselves.

It is in this context that with the support of the Goethe Kamerun Institute, during the MIS ME BINGA Festival, a group of talented and dedicated women set up ADAMIC.

Pendant très longtemps les femmes camerounaises ont eu du mal à prouver leur talent dans le cinéma. Car on savait que le métier était destiné aux hommes. Sans compter que celles qui s’engageaient finissaient par laisser tomber ou allaient  s’installer ailleurs.

Celles qui entraient dans les écoles de formations de la télévision nationale déboursaient des sommes faramineuses  pour leur formation et à leur sortie pouvaient être recrutée. Pour Celles qui n’étaient pas recrutées et les auto-dictâtes  seule la volonté les animait, avec pour seul objectif  le travail. Par ailleurs trouver un stage sur un plateau pour une femme relevait d’un miracle.

Face à cette détresse, le Goethe Institute sous la houlette de Mme Irène Bark, nous a ouvert ses portes. En nous offrant les ateliers  de formation pour  les femmes. Ceci nous a permis de nous  professionnaliser.

C’est dans ce contexte qu’avec le soutien de l’Institut Goethe Kamerun, pendant le Festival MIS ME BINGA, un groupe de femmes talentueuses et dévouées ont mis sur pied l’ADAMIC.


III. OBJECTIVE OF ADAMIC | OBJECTIF DE L’ADAMIC

- to support and train women interested in cinematography, scriptwriting, filmmaking, film distribution and other professions in cinema, marketing techniques for their projects | soutenir et former les femmes passionnées de l’art cinématographique, l’écriture de scénario, la réalisation, les métiers du cinéma, les techniques de vente de leurs différents produits
   
- strengthen the capacities of Cameroonian women filmmakers | renforcer les capacités des femmes cinéastes camerounaises,

- to professionalize the Cameroonian women's film sector | professionnaliser le secteur cinématographique féminin camerounais  
- to train the diverse stakeholders in cinema | former les animatrices de cinéma,

- promote Cameroonian film production in general and women in particular | favoriser la production cinématographique camerounaise en général et féminine en particulier,

- explore broadcast channels for our film productions | chercher les circuits de diffusion pour nos réalisations.


PRESENTATION OF THE NEW OFFICE ELU IN 2017 | PRESENTATION DU NOUVEAU BUREAU ELU EN 2017


PRESIDENT | PRESIDENTE
Elise Manuela Kameni
Born/Née in/en 1976, Yaoundé, Cameroon/Cameroun

Autodidact, she made her film debut as principal actress in a television series, which ran for six years. She learned filmmaking while working as assistant director and production manager during numerous film productions. She enrolled in several scriptwriting and filmmaking workshops, led by professional such as Jean Pierre Bekolo, Bernard Nagmo, Mollo Olinga, Bettina Hassen and Pascal Capitolen. Author of several radio drama works broadcast on the National Radio (CRTV), she has directed 15 short films.

She obtained funding from the Ministry of Arts and Culture in 2009 for the her short film La Sottise, during the training workshops at the Goethe Institute Cameroon, the choice of this topic focused on her documentary theme "The Hunters of Dawn", which is in post production and for which a teaser will be made. Her latest short film Double Peine (Double hardship) was produced by GIZ-PAasar in collaboration with ADAMIC. She is an instructor, member of Cinepress and the founder of the production company Maffokak Enterprise.

From 1999 to 2001 she was the vice-president of the women artists. At present, she is founding member and in charge of documentation at SCAAP (civil society of the audio-visual and photographic arts), member of the commission for circulation at SOCILADRA (civil society of the rights of literature and dramatic arts). She was a member of the steering committee for the election of directors and in 2017, the PCA for copyrights. Member of the French Film Academy, jury of the second round of French-speaking trophies in December 2017; President of the Women's Pocket Film Jury during the 2017 Francophone Awards. She has completed the conception of a feature film about immigration and its impact on the family.

Autodidacte, niveau terminale,  Elle fait ses débuts au cinéma dans un feuilleton où elle est actrice principale pendant six ans. Puis apprend le cinéma par le biais de multiples tournages en tant qu’assistante réalisatrice et directrice de production. Elle suit  plusieurs ateliers d’écriture de scénario  et de réalisation, dirigés par des personnes telles que jean pierre Bekolo, Bernard Nagmo, Mollo Olinga, Bettina Hassen et Pascal Capitolen. Auteure de plusieurs œuvres inédites exploitées en film radiophonique à la Radio nationale (CRTV), elle a réalisé 15 courts métrages.

Elle obtient le financement du Ministère des arts et de la culture en 2009 pour la réalisation de son court métrage la Sottise, pendant les ateliers de formations au Goethe Institute Cameroun, le choix est porté sur son sujet de documentaire « les Chasseuses de l’aube » et un teaser sera fait à ce sujet, le film tourné peu de temps après est en post production. Elle a réalisé plusieurs courts métrages et son dernier court métrage « Double Peine » a été produit par la GIZ-PAasar en collaboration avec l’ADAMIC. Elle est fondatrice de MAFFOKAK Enterprise (une jeune entreprise de production),  Formatrice, membre de Cinépress.

Elle a été tour à tour, Vice-présidente des femmes artistes de 1999 à 2001. Membre fondatrice et commission d’identification  de la Scaap (société civile des arts audiovisuelle et photographique) Membre de la commission de répartitions à  la SOCILADRA (société civile des droits de la littérature et des arts dramatiques)  à nos jours. Elle a fait partie du comité de pilotage des élections des administrateurs et du PCA en 2017 aux droits d’auteurs. Membre de l’Académie française du cinéma, jury du second tour des trophées francophones en décembre 2017 ; présidente du jury des Pocket films de femmes pendant les trophées francophones 2017. Elle a fini la conception d’un long métrage qui parle de l’immigration et de son impact sur la famille.


VICE-PRESIDENT | VICE-PRESIDENTE
Nadège Flora Kemeum
Born/Née in/en 1975, Cameroon, Cameroun



Holds a Master's degree in bilingual communications. She joined the Dschang University Theater in 2008, which she participated in several national festivals. A few years later, she was selected for a leading role in an AIDS awareness film, which motivated her to join in several other successful projects. Recently she has worked actively in scriptwriting, a field in which she has increasingly gained recognition. In addition Kemeum is a makeup and special effects artist.

Est titulaire d’une Maitrise en lettre bilingue. Elle intègre le théâtre universitaire de DSCHANG en 2008, avec lequel elle participe à plusieurs festivals dans le territoire national. Quelques années après, elle est retenue pour un rôle principal dans un film de sensibilisation sur le sida et des lors le virus de l’actorat l’entraine dans plusieurs projets a succès. Depuis peu de temps elle s’est lancée activement dans l’écriture des scenarii, domaine dans lequel elle se fait peu à peu un nom.

Ce n’est pas tout, car, très dynamique, Nadège touche presque à tous en plus de l’actorat et de l’écriture des scenarii, elle est également  maquilleuse  artistiques et maquilleuse des effets spéciaux.


GENERAL SECRETARY | SECRETAIRE GENERAL
Agnès Djuimala
Born/Née in/en 1983, Yaoundé, Cameroon/Cameroun



Holds a Master's degree in Business Law, as well as other professional training. She began her trajectory in cinema as screenwriter and director in 2011. In 2014 ADAMIC offered her a chance to participate in the workshop that she organized, her scenario entitled “Decalage”  was selected and shot in the same year and screened during the evening of the ADAMIC event, as well as in other festivals in Cameroon. In 2015 she played the role as lead actress in Elise Kameni's Double peine (Double hardship) and acted in several other short films.

Other assets:

- General Delegate of the Festival l’œil du Kwatt (Festival International du Film de Quartier)
- Librarian
- Event coordinator
She has written a feature-length documentary about the experiences of street children.

Est titulaire d’un Master I en Droit des Affaires et plusieurs autres formations professionnelles, elle commence véritablement le cinéma comme scénariste et  Réalisatrice 2011. En 2014 L’ADAMIC lui offre sa chance et elle participe à l’atelier qu’elle organise, son scénario intitulé DECALAGE est retenu et tourné en cette même année et projeté lors de la soirée ADAMIC, et dans d’autres festivals au Cameroun. En 2015 elle tourne dans Double peine d’Elise Kameni comme actrice principal et joue dans plusieurs autres courts métrages.

Autres atouts :

- Délégué Général du Festival l’œil du Kwatt (Festival International du Film de Quartier)
- Bibliothécaire
- Coordonnatrice évènementielle
Elle a écrit un documentaire long métrage sur le vécu des enfants de la rue.


TREASURER | TRESORIERE
Jeanne Ngo Ndab Nyemb
Born/Née in/en 1968, Cameroon/Cameroun

After her primary and secondary studies, Jeanne Ngo Ndab Nyemb discovered a passion for cinema and theatrical arts. In 1985, she performs in her first play entitled “Femme Infidele” by Ngo'o and Papers, and she will go on to make a name for herself in this field. For the cinema, she became known through her first role in Point d’interrogation by Kono Ateba in 1989.

Her passion for costume design prevails and she has shaped her path in this field. In 1992 she worked on the set of Spot ''33 export” to paving a way for herself. Fran by Philippe Sagho, les Silences de la forêt by Basseck Ba Kobhio, The Pygmies by Carlo, Dr. Jamot. She is considered one of the best costume designers of her generation. Industrious, Jeanne Ngo Ndab Nyemb has received trainings in diverse areas of cinema, in particular in the scriptwriting, and in the theater and musical arts. In addition, she trains young costume designers who follow in her footsteps.

Après ses études primaires et secondaires, Jeanne se découvre une passion pour les métiers du cinéma et de l’art théâtrale et s’y intéresse. En 1985, elle jout dans sa première pièce de théâtre intitulé Femme Infidele de Ngo’o and papers, elle va par la suite se faire un nom dans ce domaine. Pour le Cinéma, elle commence véritablement par se faire connaître à travers le premier rôle qu’elle obtient dans Point d’interrogation de KONO ATEBA, c’est en  1989.

Et depuis lors elle ne cesse de briller dans ces différents domaines. Sa passion pour le costume l’emporte et elle se forme. Elle va depuis 1992 dans le plateau de  Spot ‘’33 export’’ se faire du chemin. (Fran) de Philippe Sagho, les Silences de la forêt de Basseck Ba Kobhio, Les pygmées de Carlo, Docteur Jamot.   Elle est considérée comme l’une des  meilleures costumières de sa génération. Infatigable, Jeanne va suivre plusieurs formations dans différents métiers de cinéma notamment dans l’écriture de scénario, les métiers du théâtre et l’art musicales. Elle a déjà formé des jeunes costumières qui suivent ses traces.

RESPONSIBLE FOR INTERNATIONAL RELATIONS | CHARGEE DES RELATIONS INTERNATIONALES
Agnes Lydienne Yougang
Born/Née in/en 1977, Cameroon/Cameroun

She holds a BA in English-French Bilingual Studies (communication option) and several training certificates in the area of cinema, obtained in Cameroon and in Europe.

Director with a private channel at the beginning of her career, she has received several honorary awards along her path:

- Winner of the Mis Me Binga contest.
- Winner of the contest "7 Days for a film".
- Lion d'Or television magazines, awarded by the association of youth without borders
- Audience prize at the live image festival.
- Second prize of BINGA TALENT.
- Network Award at the Douala International Short Film Festival.

She has signed contracts with many directors-producers: Cyrille Masso's Malo Pictures, Honore Noumabeu's HDN pictures, NS Pictures etc ...

From 2003 to the present, she has taken part in film training with names such as filmArche of Berlin, Canal France International, the FIFF, Festival international du film francophone de Namur, Goethe Institute of Yaounde, Acajou Film of France, Festival Ecran Noir of Yaoundé, French Institute of Yaounde, Spanish Embassy in Yaoundé, to only name these. She has written and directed nearly ten (10) short fiction films and documentaries.

At the moment, she has finished the writing of a feature-length fiction film being produced by Molo Pictures. She is preparing her first documentary feature film in collaboration with the Berlin filmArch, and has just completed the co-writing of the series Deux Temps Trois Mouvements an original comedy drama adapted from the chronicles of a dangerous meeting of Sandra Moyo, figurehead on the internet which has more than 39,000 followers on Facebook.

AUDITOR | COMMISSAIRE AUX COMPTES
Merveille Akamba
Born/Née in/en 1980, Cameroon/Cameroun 


Merveille Akamba, a professional makeup artist of cinema is also an actress. In 2009 she graduated at the top of her class in Cameroon from a school of aesthetics, cosmetology and general biology.

In Cameroon, she is a pioneer makeup art in special effects. To date, she has worked on many foreign and national film productions as a makeup artist. Since 2015, she has been involved in television shows and has encouraged vocations among young people and adults. She has been invited to national and international festivals as a guest speaker and has conducted training and master class workshops in artistic make-up for cinema, and is a member of the Association of Make-up Artists for cinema in France. In 2016, she founded the Association of Makeup Artists of Cinema in Cameroon abbreviated (ASMACC).

Est maquilleuse professionnelle de cinéma, comédienne. En 2009 elle sort major de sa promotion dans une école d’esthétique, cosmétologie et biologie générale au Cameroun.

Elle met en pratique ses cours d’esthétiques, de cosmétologie et biologie, auxquels elle associe son sens de créativité et devient le précurseur du maquillage à effets spéciaux, truquiste et prothésiste au Cameroun.

À ce jour, elle a travaillé sur maintes productions cinématographiques étrangères et nationales en tant que Chef maquilleuse.

Depuis 2015, elle participe à des émissions télévisées et suscite des vocations chez les jeunes et adultes ; elle est invitée dans des
Festivals Internationaux et nationales comme Conférencière et dirige des ateliers de formations et master class en maquillage de cinéma, elle est aussi membre de l’Association de maquilleurs en France.

Elle a fondé depuis 2016 l’Association des Maquilleurs de Cinéma au Cameroun en abrégé (ASMACC).

COMMUNICATION MANAGER | CHARGEE DE LA COMMUNICATION
Jeanne Dancmeni Siaketh
Born/Née in/en 1990


After her scientific baccalaureate with honors, Jeanne Dancmeni Siaketh enrolled in the School of Science at the University of Douala. But pursued her passion for cinema the following year having succeeded the entrance exam at the Institute of Fine Arts where she studied film and audiovisual. She began writing dramaturgy and produced several short film scripts as part of the school exercises. In addition, she participated in several writing workshops organized by the associations ADAMIC, Mis Me Binga etc. She is currently working on several film and series projects and is organizer of a special effects festival that is in its second edition.

Après son baccalauréat scientifique avec mention, elle s’en va en faculté des sciences à l’université de Douala. Mais elle ne résiste pas longtemps à l'appel de sa passion pour le septième art et réussit l’année suivante le concours d’entrée à l’institut des beaux-arts où elle étudie le cinéma et l'audiovisuel. Elle se met donc  à l’écriture dramaturgique et produit plusieurs scénarios de court métrage dans le cadre des exercices d'école. Elle participe également à plusieurs ateliers d’écriture organisés par les associations ADAMIC, Mis Me Binga etc. Elle travaille actuellement sur plusieurs projets de film et de série. Elle est promotrice d’un festival d’effets spéciaux qui sera à sa deuxième édition.

ADMINISTRATOR IN CHARGE OF CONTRACTS | ADMINISTRATRICE CHARGEE DES CONTRATS
Francine Elemva
Born/Née in/en 1993, Cameroon/Cameroun


Holder of a Master II in Business and International Trade Law, she is a specialist in the drafting of contracts, and new business start-up, the valuation of intellectual property and property of other elements that affect the field of business law. She entered into the world of cinema in 2014 when she was involved with the ADAMIC workshops as manager. Subsequently, she also participated in 2015 as assistant director for the film Décalage by Agnès Djuimala. The same year she contributed to the realization of the fiction film Double Peine by Elise Kameni as Director of Production.

In 2016, she participated in drafting contracts between ADAMIC and other structures such as GIZ.

In addition, in 2017, she participated on several occasions as a legal financial analyst for the projects of the company, Inception Art & Com represented by Frank Thierry Lea Malle.

Competences

Jurist in Business Law and International Trade:
Knowledge in Contract Drafting, Taxation, Intellectual property, banking law, international law, investment, company law

Titulaire d’un Master II en Droit des Affaires et du Commerce International, elle est spécialiste en la rédaction des contrats, la création d’entreprise, la valorisation de la propriété intellectuelle et biens d’autres éléments qui touchent le domaine du Droit des affaires.
Elle débute dans  le milieu du cinéma en 2014 par plusieurs participations en tant que Régisseur aux Ateliers ADAMIC. Par la suite, elle participe également en 2015 en tant que Régisseur à la réalisation du film Décalage d’Agnès Djuimala.

La même année elle concoure à la réalisation du film fiction « Double peine » en tant que Directrice de Production, film réalisée par Elise Kameni.

En 2016, elle participe à la rédaction des contrats passés entre l’ADAMIC et les autres structures comme le GIZ.

En outre en 2017, elle participe maintes fois en tant que juriste analyste financière aux projets de l’ entreprise Inception Art & Com représenté par Frank Thierry Lea Malle

Compétences

Juriste en Droit des affaires et du commerce international : Connaissance en Rédaction de Contrat, fiscalité, Propriété intellectuelle, droit bancaire, droit international, investissement, droit des sociétés 


III. PROJECTS COMPLETED AND ILLUSTRATED IN IMAGES | PROJETS REALISES ET L’ILLUSTRES EN IMAGES








ADAMIC workshops in 2014, sponsored by the Goethe Institute Kamerun | 

Ateliers ADAMIC en 2014, en appui avec le Goethe Institute Kamerun













Film shooting by Agnès Djuimala, facilitator of the scenario training workshop | 

Tournage du film d’Agnès Djuimala, major de l’atelier de formation en écriture


Produced by ADAMIC, in support of the Goethe Institute Kamerun | Produit par l’ADAMIC,  en appui avec le Goethe Institute Kamerun

Title of film: Décalage in January 2015 | Titre du film : Décalage  en  Janvier 2015








Filming of Elise Kameni's film, Double peine with GIZ-PAsaar in September 2015 | Tournage du film double peine  d’Elise Kameni avec la GIZ- PAsaar en septembre 2015

Filming of the film Double peine, ADAMIC collaboration | Tournage du film Double peine, collaboration ADAMIC




ADAMIC workshops during the Œil du Kwatt in Mfou in 2016: capacity building for scriptwriting. Focal point: how to create the main protagonist | Ateliers ADAMIC pendant le festival Œil du Kwatt à Mfou en 2016 : renforcement des capacités en  écriture de scénario. Point focal : comment créer le héros principal.

Interactive workshop led by Elise Kameni, open to all filmmakers. And lighting workshop | Atelier interactif animé par Elise Kameni, ouvert à tous les réalisateurs. Plus atelier d'éclairage.




Sponsored by Festival de film d’humour (FESTICO) in 2017, award ceremony for the best technician of cinema | Parrainage du Festival de film d’humour (FESTICO) en 2017, remise de prix au meilleur technicien de cinéma




Co-production for several films (review of our work in the articles of the Images Francophones) | Co-production de plusieurs films (bilan de nos travaux dans les articles  des images francophones)

Cooperation during 3 years for the Binga Talent (Mismebinga 2013/2015 | Coopération pendant 3 ans pour le Binga Talent (Mismebinga 2013/2015

Forum of the Ecrans noirs producers 2013-2015 | Forum des producteurs Ecrans noirs de 2013 à 2015


OTHER WORK BY WOMEN IN ADAMIC | AUTRES TRAVAUX DES FEMMES DE L’ADAMIC





On set/Plateau de tournage : Agnes Yougang








Make up/Maquillage by/de Merveille Akamba












IV. NEEDS | BESOIN

In order to develop, ADAMIC is in great need of partners who can support and coalesce to produce suitable projects. | L’ADAMIC dans sa course a un grand besoin des partenaires pouvant la soutenir et fédérer pour faire des bons projets.

In addition, it also needs equipment such as | En outre, elle a également besoin du matériel de travail à l’instar de : 

- A complete kit for shooting | Un kit complet pour tournage

- Assistance during the training process | Facilités dans les démarches de formation

- A space for meeting and networking | Un espace de rencontre et d’échanges


V. PERSPECTIVE FOR THE FUTURE | PERSPECTIVE  DE L’AVENIR

- Train the trainers | Former les formateurs

- Have other filmmaking supplies | Avoir d’autres kits de tournage

- Find producers or co-productions for our members | Trouver des producteurs ou des co-productions pour nos membres.

- Organize even more practical workshops for young women graduating from universities, training schools and for those who are self-taught | Organiser encore plus d’ateliers pratiques pour les filles qui sortent des universités, des écoles de formations et des autodidactes. 


23 July 2018

Le groupe Canal+ : launches "l’Afrique au féminin" to train African talent in audiovisual production | lance « l’Afrique au féminin » pour former les talents africains aux métiers de la production audiovisuelle (2018)

Le groupe Canal+ launches/lance "l’Afrique au féminin" to train African talent in audiovisual production | « l’Afrique au féminin » pour former les talents africains aux métiers de la production audiovisuelle (2018)

[English]

The second edition of "l’Afrique au féminin" ​​was officially launched in Abidjan by the management of Canal+ International during the 4th edition of DISCOP Africa held from 28-30 May in Côte d’Ivoire.

Created in 2013, this initiative aims to offer training seminars in scriptwriting, filming, video editing and use of digital tools to journalists reporters of the moving image. The aim is to professionalise the audiovisual sector in sub-Saharan Africa in order to bring forth future content producers.

In partnership with Galaxie Africa and CFI, the Canal + Group will, for nine months, fund and train seven talents from seven French-speaking African countries. Mali, Senegal, Côte d'Ivoire, Guinea, Cameroon, Chad and Congo will be represented in the 2018 promotion. The seven JRIs (Journalist Reporters of the Moving Image) are going to complete the training, each produce a 13-minute society report under the theme: "The place of women in African society".

The productions will be presented exclusively at the 26th edition of Fespaco (Panafrican Festival of Cinema and Television of Ouagadougou) from February 23 to March 2, 2019, and broadcast on the occasion of the 2019 International Women's Day. Superb initiative!

"The theme chosen this year was close to our heart. Canal + is one of the leading producers of content in French-speaking Africa and we train and invest in the creation of original content that can be exported internationally. It was important for us to encourage gender parity in our professions and especially that of director."

To diversify the gaze, to diversify the histories and stories we bring to the screen. We will continue to produce original, authentic and innovative content. "Says Grace Loubassou, in charge of the development of "Afrique au féminin".

"This initiative is part of the Group's desire to contribute to the development of audiovisual professions on the African continent through the training of film professionals and the advancement of original creations." Says David Mignot, CEO of Canal + Africa.


[Français]

La deuxième édition de « l’Afrique au féminin » a été officiellement lancée à Abidjan par la direction de Canal+ International. C’était lors de la 4ème édition du DISCOP Africa qui s’est tenue du 28 au 30 mai dernier en Côte d’Ivoire.

Créée en 2013, cette initiative vise à offrir à des journalistes reporters d’images (JRI), des séminaires de formation en écriture de scénarios, tournage, montage vidéo et utilisation des outils digitaux. L’objectif étant de professionnaliser le secteur de l’audiovisuel en Afrique sub-saharienne afin de faire émerger de futurs producteurs de contenus.

En partenariat avec Galaxie Africa et CFI, le Groupe Canal+ va, pendant neuf mois, financer et former sept talents issus de sept pays d’Afrique francophone. Le Mali, le Sénégal, la Côte d’Ivoire, la Guinée, le Cameroun, le Tchad et le Congo seront représentés dans la promotion 2018. Les sept JRI (Journalistes Reporter d’image) vont à l’issue de la formation, produire chacun un reportage de société de 13 minutes sur le thème : « La place de la femme dans la société africaine ».

Les productions seront diffusées en exclusivité lors de la 26e édition du Fespaco (Festival Panafricain du Cinéma et de la Télévision de Ouagadougou) du 23 février au 2 mars 2019, puis à l’antenne à l’occasion de la journée de la femme 2019. Superbe initiative !

« Le thème retenu cette année nous tenait à cœur. Canal+ est l’un des premiers producteurs de contenus en Afrique francophone et nous formons et investissons dans la création de contenus originaux qui peuvent s’exporter à l’international. Il était important pour nous de féminiser nos métiers et plus particulièrement celui de réalisateur. 

Diversifier les regards pour diversifier les histoires et les récits que nous portons à l’écran. Nous continuerons de produire des contenus originaux, authentiques et novateurs. » affirme Grace Loubassou, en charge du développement de l’ « Afrique au féminin ».

« Cette initiative s’inscrit dans la volonté du Groupe de contribuer au développement des métiers de l’audiovisuel sur le continent africain à travers la formation de professionnels du cinéma et la mise en valeur de créations originales. » déclare David Mignot, Directeur Général de Canal+ Afrique.

Suivez et participez à l’initiative à travers le hashtag #AAF2018 en vous abonnant aux différents réseaux sociaux :




20 July 2018

Mariama Khan, filmmaker, poet, cultural activist, scholar: Reflections on cinema culture in The Gambia

Mariama Khan,
filmmaker, poet, cultural activist, scholar:
Reflections on cinema culture in The Gambia

Mariama Khan, Gambian with Senegalese root, is a filmmaker, cultural activist, scholar and professor, currently teaching African History and African Civilizations at Lehman College in New York. Her present research focus includes The Gambia-Senegal border relations, culture, cross-border transport and trade and religious movements in Senegambia. She is founder of the Documentary Film Initiative-The Gambia and the Makane Kane Center for the Creative Arts projects, which are currently on hold. She talks about her experiences with the moving image, cinema culture in The Gambia, and her role as cultural activist and scholar.

Interview by Beti Ellerson

Mariama, please talk a bit about yourself, your background.

My name is Mariama Khan. I am a Gambian from Brikama New Town in the Kombo Central Region and the Western Division of The Gambia. I was born to a Senegalese father and a Gambian mother. I am a great lover of film, poetry, music, nature and public service. I’ve previously worked with the government of The Gambia for about ten years in junior, middle and senior-level positions. I’m a documentary filmmaker and a poet. I’m currently on the faculty of Lehman College, CUNY, at the Department of Africana Studies. I teach African History and African Civilizations, respectively.

What were your experiences with cinema, the moving image when growing up in The Gambia?

When I was growing up in The Gambia, most of the films I watched were through two primary channels: Senegalese national TV- RTS and home videos. I religiously watched films, movies or soap operas - like Dallas, Dynasty, Fresh Prince of Bel Air, The Cosby Show (all dubbed in French) and Mademoiselle, among a few others shown on RTS at that time. My sister Haddy also made me watch Wollof-language children’s comedy and films on RTS in the evenings. It was also common for me and my other siblings to watch Wollof-language films on RTS. Sometimes, we watched the dubbed non-Senegalese French-language films with our father, who spoke fluent French and our second mother, who also speaks French. After The Gambia established its own television station, we watched films through The Gambia Radio and Television Services (GRTS). On occasions, too, I watched home videos of films like Problem Child, Sarafina, etc., with my best friend in High School, Rebecca Gomez, at my cousin Lamin Camara (L-boy)’s family home. So, my experiences of “cinema” or productions of the moving image involved socializing with family, friends and neighbors. It also involved taking part in group entertainment, sharing and building relationships.  My film-related experiences also inspired my interests in filmmaking and the moving image. 

The Gambia does not have a visible screen/cinema culture on the continental and international level. Please describe the local scene and your place within it.

When I was young, Brikama had a popular cinema, which was run by one of my father’s best friends in the town. At that time, going to the cinema was popular in the community. However, when the cinema stopped functioning at a time of considerable economic depression and political dilemma in The Gambia, people who had television sets in their homes watched Senegalese TV or other accessible stations. Video clubs were also popular. But males mostly frequented such clubs in those days. There has always been some form of “cinema culture” in the country. It was less bubbly like the culture Nollywood has helped push into the Gambian film sector. That film culture was primarily centred around consuming exported cinema productions from the West, Asia (specifically, India and China) and later South America. However, with the establishment of The Gambia Television and the local boom of Nollywood films, we see a “new’ cinema culture gradually unfurling in the country. We now have a growing number of Gambian film producers with considerable talent. Prince Boubacar Aminata Sankanou, who is a man of many talents, is making great contributions towards the development of a truly Gambian cinema culture. Sankanou and other new generation Gambian filmmakers are a great inspiration and they deserve every support from the government. 

I like to think that if I do have any position in the current cinema environment in The Gambia, then that position might be located on the slim fringes of The Gambian film sector. So far, I’ve only produced a few films in the country. This limited number of productions makes my contribution in the sector very modest and less significant compared to the numbers of new drama, feature or documentary films produced by my other compatriots. Most of these new producers have now established a niche as full-time Gambian filmmakers in the country. So, maybe, my place in the current local scene has been overtaken by the new promising productions that are available online and through other means. With that realization, my task as a filmmaker is to refocus and re-initiate my filmmaking career following its long hiatus, which resulted from the lack of grounded-ness in my life and career in the world of exile. In other words, the ups and downs of living a life in exile have stalled my filmmaking career, too. 

You are founder of the Documentary Film Initiative. Please talk about why you created it, its objectives and future goals.

The Documentary Film Initiative (DFI-The Gambia) was created to promote social justice, inspire change and to create youth employment through documentary-filmmaking, which is one of its objectives. It was apart of a broader project called the Makane Kane Center for the Creative Arts. I’ve made a few productions under the DFI- Gambia. However, the bigger part of the project, which was to establish an educational institution—the Makane Kane Center for the Creative Arts—to teach the creative arts in The Gambia could not take-off due to political barriers from the National Training Authority. I invested a lot of money to buy professional filmmaking equipment, furniture for classrooms and offices, and leased the premises that were to host the school—which was located along the Latri-Kunda- Tabokoto highway. I also identified staff for the school. I submitted the application for a permit with all the required documentation, but the National Training Authority did not give me the permit that I needed under national rules to operate such a school. I met all the requirements for that permit. But the Training Authority did not issue it to me. This was at a time I had a political conflict with the former President of The Gambia. Ostensibly, as a result of that, the National Training Authority decided to sabotage the take-off of my school project. I ended up losing a lot of money and I later had to go into exile as a result of my political difficulties with the former President. That stalled both the The Documentary Film Initiative-The Gambia and the Makane Kane Center for the Creative Arts projects. However, we’re now revisiting both projects. 

You have made several films, “The Journey up the Hill”, “Sutura” and “The Professor” in 2008 and “Devil’s Waters-Illegal Migration in The Gambia” in 2009. Talk a bit about the production of these films and their reception.

My documentary, The Journey up the Hill,  was produced out of my “Recording America” class project at Brandeis University. My beloved former film professor, Henry Felt, invested his personal resources and time on that project. I worked closely with him to film and edit the documentary. Additionally, thanks to Professor Felt’s insistence, the documentary had a successful premier at the Heller School [Heller School for Social Policy and Management], with a phenomenal attendance. I owe a lot to Professor Felt for that film. He taught me how to make films with such rigor in class and also as part of his year-long, one-on-one tutorial he gave me during that full-academic year course. The film explores the experiences of international students like myself, who come to America for educational purposes. In it, different international students from the Heller School share their experiences studying in America. I also had some of my beloved professors from the Heller School such as Professor Susan Holcombe, who was my advisor at Brandeis, and Professor Kelly Ready, make contributions in the film. The title of the film captured the fact that Brandeis is located on a hill in Waltham [Massachusetts]. The hill was also a metaphor of the experiences of international students as they adjust, struggle and work hard towards their educational success symbolized by reaching the top of the hill. The film recognizes the fact that getting to succeed entails challenges as most of us struggled with home sickness, culture shock, adapting to American academic life and so on. However, we also formed some lasting bonds. In fact, Heller was a wonderful place that made us feel at home, with all the several parties on and off campus. The social life helped most international students to develop a sense of belonging away from home. 

The Professor was the second documentary project I worked on and produced with Professor Felt, while at Brandeis. It is based on Professor Felt’s life. I came up with the idea to document some of his life story, which was fascinating to me. In addition to being my professor, Professor Felt was also a beloved friend when I was going to Brandeis. We had lunch together many times. We used to have conversations on many subjects including topics like Islam and Judaism (I am a Muslim and Professor Felt is Jewish), The Gambia’s relationship with Israel, about America, about New York, about Africa and so on. In those days, I was amazed by how well Professor Felt was informed about the daily news of The Gambia. I fondly recall that before we start class, he would tell me what was happening in my country. It was impressive that he paid more attention to what was happening in The Gambia than I did at that time. So, the documentary The Professor was one way of celebrating the life of a man who was an exceptional teacher to me. I fondly remember when I was returning home to The Gambia after my studies in 2008, he had these very kind words for me, he told me while we were at the Heller School, “consider me your teacher for life …” then with a broad smile, he added, “keep rising.” The production of the film on his life also signifies the appreciation I have for him.  In fact, I owe Professor Felt some promise I must deliver.  That promise carries how much he has touched my life as my former professor and friend. Wherever he is, I re-promise, I shall keep the promise, Professor Felt, God willing.

The documentary Sutura was commissioned by Dr. Leigh Swigart of the Brandeis University International Center for Ethics, Justice and Public Life. It was also a collaboration between Dr. Swigart’s program, the Senegalese Female Lawyers ‘Association of Senegal and the West African Research Center in Dakar, Senegal. The concept of the film came from Dr. Swigart. Dr. Fatou Kine Camara of the Senegalese Female Lawyers’ Association and Professor at Cheikh Anta Diop University in Dakar, facilitated all the pre-filming arrangements for the film. The film was premiered in Ghana, thanks to Dr. Swigart and her partners. It was also shown in Senegal, Germany, the Netherlands, in the USA (Boston and California), and in The Gambia.  People from a number of African countries who I met at a conference in Ghana and at The Hague also acquired the film and promised to show it to some of their constituents after their return. Sutura was well received and also won a UNFPA award. 

Devil’s Waters was produced in collaboration with The Gambia Ministry of Youth and Sports. It came out of the desire to educate Gambian youth and other people about the dangers of irregular migration through the Sahara Desert and the Mediterranean Sea.  It was premiered in The Gambia. 

You have a work in progress, Facscinala - Divorce and Human rights in Senegal. Talk a bit about it and its development.

The documentary and work-in progress, “Fascinala: Divorce and Human Rights in Senegal” aims to explore the different experiences women have during and after divorces. It is inspired by what I’ve learnt about women’s conditions in Senegal, thanks to the Senegalese Female Lawyers’ Association, which increased my awareness about the situations of women in Senegal. After doing the initial filming for this project, I could not continue working on this production due to situations beyond my control. But hopefully, soon, I will refocus on the production and get it completed.

Do you see future developments in cinema in The Gambia?

Yes, I see future developments in cinema in The Gambia. As I stated, already, some of my compatriots including my friend, Prince Sankanou, have been doing great work in the Gambian film sector.  They’re all great inspiration for me and I hope to join them soon, following the long hiatus that kept me away from the sector. 

How do you see your contribution in this regard?

As part of my contribution in the film sector, I will reinitiate some of the projects I need to complete like Fascinala. Additionally, I will explore new projects I wanted to work on before I left The Gambia. I will be delighted to partner with Prince Sankanou to work on a project we’ve discussed about many years ago. In other words, I will work to strengthen the sector. 

Your neighbour, Senegal in contrast has a very long history of cinema and is well known internationally, is their a possibility of co-productions?

Of course, there is a possibility of co-productions between Senegalese and Gambian filmmakers. In fact, I’ve worked with a Senegalese filmmaker on almost all the productions I’ve made after I left Brandeis.

Is there a relationship in terms of local Wollof-language filmmaking?

I’ve a number of friends who are Senegalese filmmakers and some of them produce films in Wollof. They’re very talented people, too. Sutura was filmed in Wollof and “Fascinala” is also in Wollof. Yes, there is some relationship in terms of local Wollof-language filmmaking. There are plans to further develop collaborations with these Senegalese friends, some of whom have become family to me.

Are there other women in The Gambia who are active in the moving image sector and have you been able to connect with them?

In terms of women, I've not had the opportunity to work with any independent female filmmakers when I was at home. The only female filmmaker I encountered was a Gambian lady who at the time I met her was married to a man from Germany and they were working together. This was a while back and I did not know her real name [Isha Fofana], but she was called Mama Africa. There was no opportunity for collaboration between us after our chanced encounter. Other than her, I know of other female "filmmakers" who were working for the national television such as Fatou Camara. Once or twice I've worked with her on some other professional capacity in the past. Of course, I know her in a limited way.  However, I had the opportunity to work with some excellent Gambian male filmmakers like the late Ebrima Sagnia of The Gambia Family Planning Association and his assistant Sanna. I also worked with Omar Njie who helped with some shooting, thanks to his boss Haruna Drammeh of Mediamatics (now of Paradise TV), who offered Njie's services to me for gratis, as support to my endeavour. However, I know that recently there are some rising female Gambian filmmakers in the country. I do not know any of them in person and as such I will not be able to talk about their experiences. Hopefully, anytime I'm able to go to The Gambia, I will be interested in having connections with some of them, just as I had with some female Gambian authors and poets.  

Throughout your higher education you have focused on international development, how have these experiences influenced the themes of your films?

The purpose of studying International Development is to do good for humanity and for the world (including the environment). As such, the films I’ve made so far are all about uplifting the human condition, improving human welfare and well-being and promoting justice and peace. My personal and professional experiences have shaped my passion for international development and that passion has also affected the themes I explore in my filmmaking.

You are currently on the faculty at Lehman College in the United States, where you teach African history and African civilizations, talk about the ways that you use film and cinema in your teaching.

As faculty member of Lehman College, I’ve moderately used film in both my African History and African Civilizations courses. This is the first time I’m teaching both courses. It has been an experiential process. Now, with feedback from the students who were part of both courses, I will better streamline my use of film in the future segments of both courses.  

Future projects, goals, especially as they relate to local cultural production in The Gambia.

I love culture. And one of the things I like to identify myself with is being a scholar of culture. Therefore, my future projects will focus more on issues relating to culture—Gambian or Senegalese culture and in combination, Senegambian culture. Again, as I work to take-off from the hiatus of my filmmaking career, I’ve been musing about producing culture-related documentaries or feature/ drama films. We will see how that goes, God willing.

Interview with Mariama Khan by Beti Ellerson, July 2018.

19 July 2018

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

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

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


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

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


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

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

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

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

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

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

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

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

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

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

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

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

What do you hope for as Cinef approaches?

(Laughs) that everything goes as we envisioned it.

18 July 2018

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

09 July 2018

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

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

[English]

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

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

Deadline for submissions 15 08 2018 

[Français]

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

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

Date limite des inscriptions le 15 08 2018 


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


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


SYNOPSIS

[English] 

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

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

BIOGRAPHY | BIOGRAPHIE

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

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

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

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