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.


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Director/Directrice, Centre for the Study and Research of African Women in Cinema | Centre pour l'étude et la recherche des femmes africaines dans le cinéma

21 November 2019

The Africa Women Filmmakers Trust (AWFT): Using participatory media in development communication

The Africa Women Filmmakers Trust (AWFT) Using participatory media in development communication

The Africa Women Filmmakers Trust (AWFT), created in 1992 by founding members Tendai Munawa, Rebecca Kapenzi and Chido Matewa, works to advance gender equality and justice through the use of information and communication technologies by facilitating content production and dissemination that supports girls, women and disadvantaged communities to take informed choices. 

Taking into cognizance that information communication technologies are a gendered tool, AWFT strives to address imbalances in the access and use of ICT’s hence the adoption of the participatory approach which is empowering to its subjects, giving them a voice hence becoming protagonists of their own development.

The AWFT website provides important resources for those interested in deepening their knowledge of empowerment through participatory media. In addition, it presents AWFT ongoing and completed projects, testimonies and other useful information. 

Chido Matewa’s doctoral thesis entitled "Media and the empowerment of communities for social change" (2002) PDF, which makes a case-study on the Zimbabwean-based Africa Women Filmmakers Trust, offers further research on the important role that media women have played in the use of communication technologies as a tool for empowerment.

07 November 2019

A Fool God, un/a film de/by Hiwot Getaneh - Analyse/Analysis par/by Djia Mambu (

A Fool God, un/a film de/by Hiwot Getaneh - Analyse/Analysis par/by Djia Mambu (

Source: Publ: 27/09/2019
Translated from French by Beti Ellerson, an African Women in Cinema Blog collaboration with

Ethiopian director Hiwot Getaneh returns to the Toronto International Film Festival (September 5-15, 2019) with her short film A Fool God, where she delves into the world of a little girl in deep reflection about guilt.

A Fool God explores the universe of Mesi, who seeks to exculpate herself from the condemnation of her grandmother for having cut off the head of a hen, a ritual reserved for men, and hence should have been done by her brother. While Mesi thinks she has done well in trying to help the latter who did not succeed, her grandmother holds her responsible for the death of her mother, who dies afterwards. As a sign of mourning, the grandmother shaves Mesi's head and takes the opportunity to recount a time-honored classic tale: the guilt of a poor farmer who steals from his uncle and then goes to God, asking for forgiveness. In order to prove her good faith to her grandmother, every chance she gets Mesi reinterprets the tale in her own way. Can we do wrong if our intention is good? Why blame someone who has committed an act in good faith? For Mesi, the one who condemns is a fool; and God included, if he does not pardon the condemned person.

The cinéaste Hiwot Getaneh once again puts a child at the forefront inviting us to openly question ourselves beyond all the influences impregnated by our environment, as well as our own values: faith, culture, justice, solidarity, etc. As in her previous film New Eyes where a young girl having just reached puberty begins to develop sensual feelings and desires, after witnessing a couple in amorous embrace, we are led to observe the unfolding of an innocent body and pure spirit.

The Ethiopian director takes as a starting point an original story that her grandmother recounted often when she was growing up and that she liked a lot. Moreover, Hiwot Getaneh recalls that as a child, she often accompanied her grandmother to the pension fund distribution centre, very common in a country where parents, mostly widows and mothers, go to collect the pension of a husband or soldier son who has disappeared--as we see Mesi accompany her grandmother.

A Fool God takes us back to our youth where we saw our unrestrained acts being corrected by adults, where we were confronted by prohibitions and where we had to evaluate our judgments; which we finally understood, only when we became adults.

A Fool God,  un film de Hiwot Getaneh
Djia Mambu,
Toronto, Septembre 2019

La réalisatrice éthiopienne Hiwot Getaneh revient au Festival International de film de Toronto (5-15 septembre 2019) avec son court métrage A Fool God où elle questionne l'univers d'une petite fille en pleine réflexion sur la culpabilité.
Version originale en Français. Lire l’article en intégralité sur

04 November 2019

Mame Woury Thioubou: "5 étoiles", un récit sur la désillusion de l’exil | a story about the disillusionment of exile: Analyse/Analysis de/by Fatou Kiné Sène

Mame Woury Thioubou: "5 étoiles", un récit sur la désillusion de l’exil |  a story about the disillusionment of exile: Analyse/Analysis de/by Fatou Kiné Sène

Source :

5 Etoiles by Mame Woury Thioubou (2019)
Tunisia, Oct 31 (APS) - The short film 5 Étoiles by the Senegalese Mame Woury Thioubou, screened Wednesday at the City of Culture in Tunis, as part of the 2019 edition of the Journées Cinématographiques de Carthage (JCC, 26 October-2 November), deals with "the disillusionment of exile", subtly bringing emigrants to realise their own precariousness in order to better talk about the issue.

The film highlights the lives of African migrants in Lille, France in order to bring these "undocumented migrants" to the realisation that after braving the desert and the sea to arrive in France, Europe is only the beginning of their ordeal.

"The film does not tell young Africans not to leave, but what I want them to know" is that Europe "is not going to be the end of the ordeal, that it is the beginning of a new struggle," said the director.

Mame Woury Thioubou had always wondered about the motivation of these young people who choose to leave the African continent for the West. Her cinematographic approach, hence, leads her on an inquiry into these young migrants' journey through the Sahara desert—for those leaving from Mali or Guinea.

Obviously, she evokes the horrors suffered by migrants from the Libyan route evident by the difficult experience of crossing the Mediterranean.

Far from knowing the epilogue of this ordeal once in Europe, in reality, it is only the beginning.

The director gives pride of place to the protagonists of the film who make a self-analysis of their precarious situation. Her camera insists on the faces, the feet, but especially their "5 Étoiles (tr. star), an old insanitary factory, a squatting place for the migrants.

Mame Woury relates their difficult living conditions in their struggle for "dignity" in the face of ordinary racism and daily humiliation.

The subject also reveals, through its reference to history, by way of a reminder that the issue of migration is not a new subject and has marked and transformed the lives of all human societies.

Mame Woury Thioubou illustrates this point with a focus on the statue of Faidherbe, one of the architects of colonisation in Senegal, and who in Lille is seen as a positive figure celebrated at the Republic Square, in this French metropolis where the "sans-papers" (the undocumented) rally each week.

Through this approach the director also challenges the French, inviting them to look in the mirror.

"This movement by these migrants, Faidherbe has already done by coming to our country without authorisation. Yet today, when our young people want to go to the West, barriers are imposed on them. I also want the French to see themselves and to question themselves,” says the director.

Biography | Biographie

Mame Woury Thioubou was born and raised in Senegal. After a MA in geography at the University Cheikh Anta Diop in Dakar and a diploma in journalism at the University of St. Louis, Senegal. She is a journalist/reporter at the newspaper "Quotidien" and for the company Avenir Communication, and technical assistant for Programme Agenda 21 in the city of Matam.

In 2009, she decided to return to her studies continuing in the area of journalism but from a more artistic approach by engaging in creative documentary filmmaking, now considered a genre in itself. She enrolled in the Master II Réalisation de Documentaire de Création  (Creative Documentary Filmmaking) at the University Gaston Berger in St. Louis (Senegal), under the tutelage of Africadoc.


Mame Woury Thioubou est née et a grandi au Sénégal. Après une maîtrise de géographie à l’Université Cheikh Anta Diop de Dakar et l’obtention d’un diplôme en Journalisme à l’Université de Saint-Louis du Sénégal, elle devient Journaliste/reporter au “Quotidien”, pour la société Avenir Communication et assistante technique du Programme Agenda 21 de la Ville de Matam. 

En 2009, elle décide de reprendre ses études et complète son point de vue journalistique par une approche plus artistique en se lançant dans le documentaire de création, aujourd’hui considéré comme un genre cinématographique à part entière. Elle suit ainsi le Master II de Réalisation de Documentaire de Création à l’Université Gaston Berger de Saint Louis (Sénégal), formation sous la tutelle d’Africadoc.

PALMARES | AWARDS : JCC 2019 - Les journées cinématographiques de Carthage | Carthage Film Festival

Les journées cinématographiques de Carthage
Carthage Film Festival


Tanit d'or | Golden Tanit

Tanit d'argent | Silver Tanit

Tanit de bronze | Bronze Tanit
Scales. Shahad Ameen Arabie Saoudite | Saudia Arabia (2019)

Meilleur scénario | Best Scenario
You will die at twenty. Amjad Abu Alala - Soudan | Sudan (2019)

Meilleure comedien | Best male performance : 
Abou Leila. Amin Sidi-Boumediene - Algérie | Algeria (2019)

Meilleure comedienne | Best female performance : Hend Sabri
Noura rêve. Hinde Boujemaa - Tunisie | Tunisia (2019)

Meilleure musique | Best Music
Atlantique. Mati Diop - Sénégal (2019)

Meilleure image | Best Cinematography
Adam. Mariam Touzani - Maroc | Morocco (2019)

Meilleur montage | Best Editing
Adam. Mariam Touzani - Maroc | Morocco (2019)


Tanit d'or | Golden Tanit
True Story. Amine Lakhnech - Tunisia | Tunisie (2019)

Tanit d'argent | Silver Tanit
Charter. Sabry Bouzid - Tunisia | Tunisie (2019)

Tanit de bronze | Bronze Tanit
Mthunzi. Tebogo Malebogo - South Africa | Afrique du Sud (2019)


Tanit d'or | Golden Tanit
Talking about trees. Suhaib Gasmelbari - Soudan | Sudan (2019)

Tanit d'argent | Silver Tanit
For Sama. Waad Al-Kateab - Syrie | Syria (2019)

Tanit de bronze | Bronze Tanit

Mention speciále | Special mention
Pas d’or pour Kalsaka. K Michel Zongo - Burkina Faso (2019)


Tanit d'or | Golden Tanit
All come from dust. Younes Ben Slimane – Tunisia | Tunisie (2018)

Tanit d'argent | Silver Tanit
Pacific. Angie Obeid - Lebanon | Liban (2019)

Tanit de bronze | Bronze Tanit


Prix | Award TV5 Monde
You will die at twenty. Amjad Abu Alala - Soudan | Sudan (2019)

Taher Cheriaa Award

Mention speciále du Jury | Special mention Jury
Un fils. Mehdi M. Barsaoui - Tunisie | Tunisia (2019)

Prix du public | Audience Award
Entre deux frères. Joud Jawdat Said - Syrie | Syria (2019)


UGTT : Prix du premier assistant à la réalisation | First Assistant Director Award
à/to Sawssen Jemni. Noura rêve de/by Hinde Boujemaa - Tunisie | Tunisia (2019)

FACC : Prix de la FACC | FACC Award

You will die at twenty. Amjad Abu Alala - Soudan | Sudan (2019)

Le prix | Award Cinephilia
Chebba. Yasmine BenAbdallah. Maroc | Morocco (2019)


Prix carthage ciné-promesse: Le dernier voyage. Latefa Ahrrare - Maroc | Morocco

Prix ciné-promesse : Prix Hakka distribution Le dernier voyage. Latefa Ahrrare - Maroc | Morocco

Prix ciné-promesse : Mention Spéciale | Special mention
TF2011. Nour El Hayet Ben Abdallah - Tunisie - Maroc 

01 November 2019

JCC 2019 - Nicole Schafer : Buddha in Africa (South Africa)

Les journées cinématographiques de Carthage | Carthage Film Festival

Nicole Schafer
South Africa
Buddha in Africa (2019) 110 min.

Enock is a Malawian teenager nearing the end of his high school studies. Since the age of six, he has lived inside a Taiwanese Buddhist orphanage – one of several built across sub-Saharan Africa. As his final examinations approach, Enock is forced to decide what direction he wants to take in his future.

Nicole Schafer is a South African writer, film director, producer, editor and cinematographer. She completed her Master of Fine Arts (MFA) degree in film and television production at the University of Cape Town.

JCC 2019 - Fatma Riahi : A Haunted Past (Tunisia | Tunisie)

Les journées cinématographiques de Carthage
Carthage Film Festival

Fatma Riahi
Tunisia | Tunisie
A Haunted Past (90 min)
Documentary | Documentaire

In her youth, filmmaker Fatma Riahi lived in Tunis with a family hosted by her mother: three little girls and their Bosnian mother, Marcida, whose Tunisian husband, Tawfiq, was serving a prison sentence for terrorism. Ten years after the family disappeared, Riahi sets out to find them. She learns that Tawfiq is now raising his girls in the countryside, and that Marcida abandoned them. The filmmaker meets the bitter young women, their dreams shattered, and the former jihadi, traumatized and enraged by his past experiences. Approaching her subjects’ sometimes-dubious perspectives and opinions frankly, she gradually unearths the secrets of lives reshaped by the complexities of international conflicts and state violence. (CS)

Dans sa jeunesse, la réalisatrice Fatma Riahi a vécu à Tunis sous le même toit qu’une famille hébergée par sa mère : trois fillettes et leur mère bosniaque, Marcida, dont le mari tunisien Tawfiq purgeait une peine de prison pour terrorisme. Dix ans après la disparition de cette famille, Riahi décide de les retrouver. Elle découvre que Tawfiq élève aujourd’hui ses filles à la campagne, et que Marcida les a abandonnés. La cinéaste fait face à des jeunes femmes amères aux rêves évanouis, et à un ancien jihadiste aussi furieux que traumatisé par ses expériences passées. Confrontant avec franchise les perspectives et opinions parfois discutables de ses sujets, elle déterre petit à petit les secrets de vies bouleversées par la complexité de conflits internationaux et la violence des États. (CS)

JCC 2019 - Wided Zoghlami : Fathallah tv, 10 ans et une revolution plus tard (Tunisie | Tunisia)

Les journées cinématographiques de Carthage
Carthage Film Festival

Wided Zoghlami
Tunisie | Tunisia
Fathallah tv, 
10 ans et une revolution plus tard 


In 2007 under the dictatorship of Ben Ali, four young people from a working class district of Tunis, try to build a better future, some through music while others will take more risky paths. All struggle against the omnipresent oppression of dictatorship and unknowingly announce a nascent revolution. 10 years and a revolution later, what have become of them, did they realize their dreams?

En 2007 sous la dictature de Ben Ali, quatre jeunes issus d'un quartier populaire de Tunis, tentent de se construire un avenir meilleur, certains par le biais de la musique alors que d'autres emprunterons des chemins plus risqués. Tous luttent contre l'oppression omniprésente de la dictature et annoncent sans le savoir une révolution naissante. 10 ans et une révolution plus tard, que sont-ils devenus, ont-ils concrétisé leurs rêves ?

Bio : Wided Zoghlami

Tunisian Filmmaker. In 2016, she pitched, her documentary project, 10 ans et une revolution plus tard at the 14th Rencontres Tënk de co-production, in Saint-Louis, Senegal.

Réalisatrice tunisienne. En 2016, elle participe avec son projet de documentaire 110 ans et une revolution plus tard aux 14è Rencontres Tënk de co-production, à Saint-Louis, Sénégal.

JCC 2019 - Hinde Boujemaa : Noura rêve | Noura's Dream (Tunisie | Tunisia)

Les journées cinématographiques de Carthage | Carthage Film Festival

Hinde Boujemaa
Tunisie | Tunisia
Noura rêve | Noura's Dream (2019)
Fiction (90 min)


Noura meets the love of her life, Lassaad, while her husband, Sofiane, is in jail. She raises her three children alone and works in a laundry to make ends meet. A few days before the divorce Noura requested is granted, the new lovers' dream of living together is jeopardised by Sofiane's imminent release. Noura and Lassaad decide to flee.

Noura a rencontré l'amour de sa vie, Lassad, alors que son mari Sofiane est en prison. Elle élève seule ses enfants; Eya 14 ans, Rahma 8 ans et Ayoub 10 ans tout en travaillant comme lingère dans un hôpital. Il ne reste plus que quelques jours avant le jugement du divorce que Noura a demandé. Les deux amants cachent leur liaison, menacés de 5 ans d'emprisonnement si celle-ci est révélée. Les amoureux sont freinés dans leur projet lorsque Sofiane est libéré.

Bio : Hinde Boujemaa

Hinde Boujemaa is a Tunisian director. Her filmography includes Ya Man Aach (It Was Better Tomorrow), which was her first documentary and was screened at several film festivals. It won the Best Muhr Arab Documentary prize at DIFF 2012. Her short...And Romeo Married Juliette (2014) won the Best Muhr Short Film at Dubai DIFF 2014.

Réalisatrice et scénariste tunisienne. Diplômée en marketing à l'Institut économique de Bruxelles, Hinde Boujemaa suit une formation en scénario à Educatel-Paris. Elle collabore ensuite aux scénarii de nombreux longs métrages tunisiens. En 2008, elle signe son premier court métrage, 1144. Elle participe avec son scénario de long métrage Sous le paradis au programme de formation Meda Film Développement et à Sud Écriture. Le scénario obtient également une bourse d'aide au développement à l'Atelier de Projets des Journées Cinématographiques de Carthage 2008. C'etait mieux demain, son premier long métrage documentaire, a été projeté en sélection officielle à la 69ème Mostra de Venise, à Namur 2012 et dans plusieurs festivals. Le film a remporté le Muhr du Meilleur Documentaire Arabe à Dubaï (DIFF 2012). Elle a de nouveau été primée à Dubaï où son film Et Romeo epousa Juliette (...And Romeo Married Juliette, 2014, court, 18 mins) a eu le Muhr du Meilleur court métrage de fiction au DIFF 2014. Hinde Boujemaa est membre de l'organisation des Journées Cinématographiques de Carthage 2014.

31 October 2019

JCC 2019 - Les journées cinématographiques de Carthage | Carthage Film Festival

JCC 2019 
Les journées cinématographiques de Carthage | Carthage Film Festival

Le Grand Jury

Alain Gomis (Sénégal - France) - Président
Hassan Kachach (Algérie | Algeria)
Mahmoud Ben Mahmoud (Tunisie| Tunisia)
Yasmine Khlat (Liban - Égypte )

Le Jury Documentaires | Documentaries

Jérôme Gary (États-Unis | United States) - Président
Jean-Marie Teno (Cameroun | Cameroon)
Mohamed Mediouni (Tunisie | Tunisia)
Mohamed Siam (Égypte)

Jury compétition première œuvre | First work : Prix Taher Chériaa

Mouhamad Keblawi (Palestine - Suède) - Président
Anissa Daoud (Tunisie | Tunisia)
Joël Karekezi (Rwanda) 


Feature films | Longs métrages de fictions

Certified Mail. Hishem Saqr - Égypte (2019)
Abou Leila. Amin Sidi-Boumediene - Algérie | Algeria (2019)
Entre deux frères. Joud Jawdat Said - Syrie | Syria (2019)
Haifa Street. Mohanad Hayal - Iraq (2019)
De la guerre. Fadhel Jaziri - Tunisie | Tunisia (2018)
Un fils. Mehdi M. Barsaoui - Tunisie | Tunisia (2019)
Scales. Shahad Ameen - Arabie Saoudite | Saudia Arabia (2019)
You will die at twenty. Amjad Abu Alala - Soudan | Sudan (2019)

Feature Documentaries | Longs métrages documentaires 

The cave. Firas Fayyad - Syrie (2019)
A home of one's own. Ruba Atiyeh - Liban | Lebanon (2019)
For Sama. Waad Al-Kateab - Syrie | Syria (2019)
Pas d’or pour Kalsaka. K Michel Zongo - Burkina Faso (2019)
Talking about trees. Suhaib Gasmelbari - Soudan | Sudan (2019)
Sur la transversale. Sami Tlili - Tunisie | Tunisia (2019)

Ndiva Women’s Film Festival 2019: Sunday by Angella Emurwon (Uganda)

Ndiva Women’s Film Festival 

Angella Emurwon

Anna and JJ have loved each other from childhood and have been married a long time. But JJ has a debilitating mental illness that has slowly chipped away at their life leaving nothing but flat routine.  Anna starts each day the same. She has made a ritual of her life that helps both her and JJ cope. (25 min 27 sec)

Angella Emurwon is a writer, award-winning playwright, and filmmaker. She divides her time between an uneventful writing life in Tororo, Uganda and her exciting work mentoring screenwriters. She has written two radio plays that have won BBC Radio Drama awards; one of which, Sunflowers behind a Dirty Fence, is being adapted into a feature film. In 2016, she wrote and directed a short film, Sunday. (Source:

Ndiva Women’s Film Festival 2019: Dark Spot by Sandra Essel (Ghana)

Ndiva Women’s Film Festival 

Dark Spot (2017)
Sandra Essel

Verona finds out the reason behind her husband's lack of satisfying her in bed sexually and takes a hasty action. (10 min)

Sandra Essel went to Creativeland School of Film and Media Arts; afterwards she joined MK Content/Casting, and has also worked with acclaimed directors such as Clement Kofi Amish (Ghana), Linda Brooke Edith (Ghana). She worked as a script supervisor on the Ghanaian film In 3 Days and the short film Broken Wing. In addition, she was production assistant for the Netflix-BBC project “Black Earth Rising”.

Ndiva Women’s Film Festival 2019: Rumba in the Jungle, the return by Yolanda Keabatswe Mogatusi (South Africa)

Ndiva Women’s Film Festival 

Rumba in the Jungle, the return (2018)
Yolanda Keabatswe Mogatusi
South Africa

A glimpse into the world of competitive Dance Sport through a world renowned dance competition, hosted in Sun City, South Africa that went defunct after 1999. As it returns 18 years later, we follow two legendary dance icons as they prepare a new generation of dancers for the competition that launched their own dance careers. (82 min)

Yolanda Keabetswe Mogatusi is a South African writer, filmmaker and actress who is passionate about putting Africa on the global map. Her TV credits include the Afrikaans SABC sitcom, Askies, which she co-created and wrote a number of scripts on while providing some creative direction as the show’s creator as well as the teen lifestyle program for SABC 3, Meet Joe Food, which is a Hybrid teen lifestyle magazine show that she also created and directed. She has written a number of bubblegum films for Mzansi Magic and is currently working on a couple of feature films, Hair That Moves – the movie and Thula Thula which is supported by the KZN Film Commission.

Yolanda is an ex-storyliner and a Talent Campus and Focus Features’ Africa First Alumni, who loves telling stories, whether it’s behind the camera or in front of it or even with just the use of words. 

Ndiva Women’s Film Festival 2019: In Search by Beryl Magoko (Kenya)

Ndiva Women’s Film Festival 

In Search (2018)
Beryl Magoko

A courageous and determined young woman talks about her experiences going through Female Genital Mutilation and the need to undergo reconstructive surgery on her genitals. Beryl is trying to find out whether she should undergo this surgery, a journey into the unknown for a second time. (90 min.) 

At 10, director Beryl Magoko suffered female genital mutilation (FGM). She now knows reconstructive surgery is a possibility, but she’s not sure whether it will help her feel better. Talking to other victims and reviewing her past, she will try to understand what happened.
Recalling her childhood in a rural village in Kenya, as a little girl Beryl Magoko thought it was a simple rite of passage to adult life and acceptance within her community, but no one warned her of the physical and emotional pain, nor the humiliation that this would entail in the future. In Search explores the director’s own emotional dilemmas and those of other women who have gone through the same experience. Source:

Beryl Magoko was born and raised in Komotobo (Kuria - Kenya). After studying Graphic Design at Mombasa Polytechnic she went to Uganda at Kampala University, initially in mass communication, then Film-TV-Video- Production. During this time she worked on different films as sound recordist and camera woman. Encourage by her professor Andreas Frowein she choose a very difficult topic for her diploma film: FGM.

Ndiva Women’s Film Festival 2019: Trapped by Erica Owusu-Ansah (Ghana)

Ndiva Women’s Film Festival 

Erica Owusu-Ansah

Emefa, is in an abusive marriage with Kwame. She assumes that Kwame's abusive nature is as a result of their childlessness. She gets pregnant and assumes that the baby will be able to save their marriage but it does not.

Erica Owusu-Ansah, filmmaker, writer and director, is CEO of Golden Arrow Productions.

30 October 2019

Ndiva Women’s Film Festival 2019: Subira by Sippy Chadha (Kenya)

Ndiva Women’s Film Festival 

Subira (2018)
Sippy Chadha

A free-spirited young girl in Lamu struggles to live out her unique dream of swimming in the ocean, against local customs and in an arranged upper-class marriage. (99 min.)

Ravneet Sippy Chadha is a Kenyan Writer-Director, based in Nairobi. She quit financial services in 2007, as she had a powerful urge to tell her own stories through film. As a child she had to conform to a rigid set of rules. She rebelled against rules that denied her self expression.

Ndiva Women’s Film Festival 2019: Remnants by Hannah Awo Bonney (Ghana)

Ndiva Women’s Film Festival 

Remnants (2018)
Hannah Awo Bonney

This film explores the cultural and historical impact of the TransAtlantic slave trade in Ghana. In Ghana, the story of the slave trade is not popular or widely talked about. People feel uncomfortable having conversations regarding this dark past and memories associated with it although they did not experience it. (42 min).

Hannah Awo Nkeba Bonney, currently a lecturer at the National Film and Television Institute (NAFTI) in Accra, graduated from the same institution and later proceeded to the Kunsthochschule für Medien in Germany for her post graduate studies.

Ndiva Women’s Film Festival 2019: A Thousand Needles by Nikitta Adjirakor (Ghana, Germany)

Ndiva Women’s Film Festival 

A Thousand Needles (2018)
Nikitta Adjirakor
Ghana, Germany

A Thousand Needles is a short documentary film on women’s health. It chronicles the journey of a lead character, exploring the effects of women’s sexual and reproductive health issues such endometriosis and uterine fibroids on her life. The story unfolds especially through monologues, artistic visuals and poetry.


Nikitta Adjirakor who is Ghanaian by birth is currently a PhD candidate in Literatures in African Languages at the University of Bayreuth, Germany.  A writer herself, her interests and background lay in words manifested through different mediums such as music, poetry, novels and film. The concept of the film was built from one of her poems which shares the same title as the film. Having lived with varying sexual and reproductive health issues since she was 13, this film serves a platform for her to reveal the often times, invisible realities of sexual and reproductive health issues. The film forms part of an eponymous concept project she is working on which merges different creative art forms in creating awareness about women's health.

Ndiva Women’s Film Festival 2019: Reverberation - Performed by Brenda Dokmah Bakomora (Ghana)

Ndiva Women’s Film Festival 

Performed by Brenda Dokmah Bakomora

An experimental short film that aims to create raw, powerful physical language and emotions in a continuing effect. It puts the performer into an exhaustive physical struggle within the limits of the mind and body. The performance is the dramatization of resounding words and persistent questions from society’s expectations and the need to fit into specific constructs of marriage, career and body image in order to be validated. 

Performed by Ghana poet Brenda Dokmah Bakomora.

Ndiva Women’s Film Festival 2019: Ha jan bana by Cecilia Oppong-Badu (Ghana)

Ndiva Women’s Film Festival 

Ha jan bana
Cecilia Oppong-Badu

Two women fight for the rights of the citizens by suing the state amid death threats by people who are likely to be affected if the judge rules in favour of them.

Cecilia Oppong-Badu, enrolled at the National Film and Television Institute Ghana, worked for TV3 Network Ltd as a Producer/Director for fourteen years. She manages her company Cobvision Inscape Ltd, a media production house. In addition, she has produced several commercials and documentaries for Samara Group, Galaxy Int. School among others. (Source:

Ndiva Women’s Film Festival 2019: Demented by Josephine Kabahuma (Uganda)

Ndiva Women’s Film Festival 

Demented (2019)
Josephine Kabahuma

Kansiime, a silent but smart mad woman observes her world and carefully lives through life looking out for her responsibilities as a woman in the house, together with her loud buddy, Mugume they flee from home onto separate paths looking out for food for them and their adopted daughter Kajoina. (20 min.)

Josephine Kabahuma is a Ugandan actress, writer and upcoming director working with Kyooto Media Group; she has worked on a number of projects as a writer, actress, director and script supervisor including; At The Garage, Kemi, Fidelity, Esteem, Demented, Equanimity, Judas Kiss and Breach among others. (Source:

29 October 2019

Ndiva Women’s Film Festival 2019: Before the Vows by Nicole Amarteifio (Ghana-USA)

Ndiva Women’s Film Festival 

Before the Vows (2018)
 Nicole Amarteifio

Set in the capital of Ghana, the film captures the relationship between a happy couple, Nii and Afua, as they navigate the anxiety of their upcoming nuptials and question what it takes to ensure a long and happy marriage. The story reflects a modern-day African love story that can be universally understood by millennials around the world. (88min)

Nicole Amarteifio is an acclaimed TV/film producer cited in The Financial Times "Top 25 Africans to Watch" list, after a successful launch of the hit web series 'An African City', dubbed by CNN and the BBC as Africa's answer to 'Sex and the City'. Nicole is pursuing TV/film projects full time, after a successful career in international development, including her role as the first ever social media strategist for the Africa Region at The World Bank. In 2018, Nicole premiered her first feature film, a romantic comedy called 'Before the Vows', at the New York African Film Festival, followed by the American Black Film Festival, the Pan-African Film Festival, Toronto Black Film Festival and the AFI Silver New African Film Festival. She has several projects in development. (Source:

Ndiva Women’s Film Festival 2019: Memre Yu (I Remember) by Zaide Bil (Belgium)

Ndiva Women’s Film Festival 

Memre Yu (I Remember) 2019
Zaïde Bil 

A neglected family house in Paramaribo, Surinam. Almost 50 years ago, not long after being built, the house was left by a Surinam family that moved to The Netherlands. For good, it turned out. Today the house is a subtle reminder of the bond that the family still has with their country of birth. 'Memre Yu' is a poetic documentary about identity, migration and transitory memories.

Zaïde Bil is a graduate from the Royal Institute of Theatre, Cinema and Sound in Brussels. She graduated cum laude in her master's degree of documentary directing. Before that, she graduated from the Windesheim University of Applied Science in Zwolle, earning a bachelor's degree in Journalism. The combination of those diplomas gives‍‍ her the qualities of artistic directing and thorough research to tackle complex and versatile projects. (Source:

Ndiva Women’s Film Festival 2019: Many Love by Rediat Abayneh (Ethiopia)

Ndiva Women’s Film Festival 

Many Love (2019)
Rediat Abayneh

Saron discovers that her younger brother Abi committed a crime by raping her boyfriend’s little sister. She persuades herself that Abi has done this due to the long-term illness that kept him isolated from his peers and decides to help him avoid punishment and escape. Saron’s boyfriend Bereket unsuccessfully pleas and urges her to turn Abi in but in the end, it all comes down to Saron and her conscience. Will she go through with her plan? (20 min. 20 sec.)

Rediat Abayneh is a freelance animator and Film-maker based in Bristol. Her works are mostly inspired by the culture, story and art of ancient Abyssinian. She also have a strong interest working with digital paintings as well as running creative workshops for young people. (Source:

NDIVA Women's Film Festival (NWFF) 2019 - Accra, Ghana - 30 October - 02 November

NDIVA Women’s Film Festival (NWFF) 2019
Accra, Ghana
30 October - 02 November

NWFF is a film festival that aims to create artistic platforms for the presentation of work by, for and about African women.

Opening Ceremony: Wednesday 30 October, 17h

Opening Film: Many Love by Rediat Abayneh (Ethiopia)

Special Feature: Before the Vows by Nicole Amarteifio (USA/Ghana)

Writ(ing) Women
A Panel Discussion: Writing For-By-About Women

Talking #MeToo: Women, Film and Sexual Harassment


I am Sheriff by Teboho Edkins (Lesotho)
Can We Die in September by Kingsley K. Antwe (Ghana)
North to South by Coniah Mouiche (Ghana)
Engulfed by Kojo Owiredu Kissi
The Sound of Masks by Sara CF de Gouveia (South Africa, Portugal, Mozambique)
She Her Woman by Lauren Abdallah (Ghana)
Sunday by Angella Emurwon (Uganda)
Determined by Miriam Safowaa (Ghana)
Hardened by Prince Adu Mensah (Ghana)
Aku Grace Naa Atswei Adjetey (Ghana)
Tempered Glass by Nana Serwaa Akosa (Ghana)
Trapped by Erica Owusu-Ansah (Ghana)
In Search by Beryl Magoko & Jule Katinka Cramer (Germany, Kenya)
Morning Ride by Omar Nana Owusu (Ghana)
Voiceless Pain by Charles Addo (Ghana)
Rumba in the Jungle, the return by Yolanda Keabatswe Mogatusi (South Africa)
Shame of Puberty by Ojok Francis Odong (Uganda)
Black Queens by Nii Ofei-Kyei Dodoo (Ghana)
Dark Spots by Sandra Essel (Ghana)
Provence by Kato De Boeck (Belgium)
Mayfair by Sara Blecher (South Africa)
Shadow of a Doubt by Emmanuel Boakye (Ghana)
Dear Self by Marion Mills
Silent Titans by Magdalene Quarshie (Ghana)

17 October 2019

Ugandan Eleanor Nabwiso, laureate of the African Focus Award for her film "Bed of Thorns", a film raising consciousness about gender-based violence against women

Ugandan Eleanor Nabwiso, laureate of the African Focus Award at the 2019 London ArtHouse Film Festival for her film "Bed of Thorns", a film raising consciousness about gender-based violence against women.

The film, produced and directed by Eleanor Nabwiso was made with an all-women crew.

"I want to put out more films about gender based violence in detail… The cultural norms in Africa believe that men should beat their wives, to show that they love them, or that a woman is beaten because she is guilty of something… A man beating his wife is wrong, not just in Africa but across the world. The message from this film is: 'don't keep quiet'... We call it 'bedroom matters', if you are fighting with your husband keep it in your bedroom…and when you come out of the bedroom, smile to the world, this is wrong, speak out, tell someone about it. (From BBC interview:


Bed of Thorns follows the story of Stella who is getting married in a few weeks but friends around her know she is being battered by her fiancé and their aim is to stop the wedding from happening. All of her friends are actually undergoing domestic violence from emotional abuse, physical abuse, bullying, and rape.


16 October 2019

Appel à films | Call for entries 2020 : Mis Me Binga Festival International de Films de Femmes | International Women’s Film Festival (Cameroun | Cameroon)

Appel à films | Call for entries 2020
Mis Me Binga Festival International de Films de Femmes | International Women’s Film Festival
(Cameroun | Cameroon)

Mis Me Binga Festival International de Films de Femmes

23-27 Juin | June 2020

Les femmes cinéastes du monde nous devoilent

Women filmmakers of the world unveil the 2020 edition:

Longs-métrages et courts-métrages | Feature and short films

Inscriptions en ligne à | Online applications at :

Envoyez des films avant le | Send films before : 28 février | February 2020

14 October 2019

In Memory of Namibian filmmaker Oshosheni Hiveluah

In Memory of Namibian filmmaker Oshosheni Hiveluah

I have the sad news of the passing of Oshosheni Hiveluah on 09 October 2019. Let us give tribute to her, her work and her contribution to cinema. She will be dearly missed.

I am republishing excerpts of the interview with her on the African Women in Cinema Blog and her report of the 2014 International Images International Film Festival for Women (IIFF), also on the Blog.

Well in terms of growing up, I was born in exile in Angola. Since I was born during the war my perception was for a very long time very militant because of propaganda songs, videos and the lifestyle that I lived. Then I spent part of my childhood in the former GDR and my first cinema experience was so magical and enchanting-I think it was the 1984 film, Neverending Story and I was fascinated with cinemas from that day forth. This was the total opposite of what moving images had been for me before this, so as any child would have, I fell in love and hard. We didn't go to the cinema often but when we did I could not hide my enthusiasm for days ahead. Most of the regular weekly stuff I was exposed to were the TV shows like Batman etc. you know 80's shows-sitcoms, Cosby show, etc., but because we lived in a communist state the shows that were screened had to be in line with communistic ideals and of course all channels were majorly censored. Back in Namibia from 1990 I was exposed to a lot of commercial blockbuster Hollywood films and very few African films which made filmmaking in my eyes appear to be an exclusive and distant thing and for a selective few. Because I always wanted to tell stories however I opted for theatre at the time, because it was open to me to explore. Then I remember seeingSarraounia (Med Hondo, 1986) one evening as a teenager, a film shot in Burkina Faso, and it changed my outlook and perception on African cinema. I then started digging and searching for more foreign films, going to embassies for film screenings and trying to expose myself to films I was not accessing and films that had that heart, that passion that I shared when telling stories. Then I moved to Cape Town to study and I felt like I had arrived, there were alternative theaters (cinema nouveau and Labia) that screened independent films and it was during that time that I was also learning more about filmmaking, work on set, etc.

09 October 2019

Call for Applications Open: Cinematography Workshop for Women from the Horn of Africa (Hargeysa, Somalia) - Deadline 10 November 2019

Call for Applications Open: Cinematography Workshop for Women from the Horn of Africa (Hargeysa, Somalia) - Deadline 10 November 2019  - The Carrot Co.

Send application to:

The major part of storytelling is image composition. The framing, the lights, shades, moods, shapes and camera movement. And that’s why it’s called moving pictures.
As we continuously advocate for the creation of more African stories, we must deliberately include the participation of women in capturing them. In an attempt, we have now open an application call for women/girls who want to learn the art of image composition. To be a camera woman.

By the end of this workshop you will be able to demonstrate technical control over the basic elements of photography, including exposure, lighting and framing. You’ll develop an understanding in capturing moments and the collaboration between the cinematographer and the director. During and after the workshop you will be able to succesfully complete a variety of film projects and managing each project during the pre-production, production and post-production phases.

To apply, please fill in the form here

Application closes on the 10th of November, 2019.

The Art of Visual Storytelling Workshop for Women

Introduction to Camera/Camera Parts
-lightening and exposure
-white balance
-types of shots
-composition techniques
-camera angles
-camera movements

Introduction to Visual Storytelling
-documentary storytelling
-three-act structure
-developing unique stories

-location scouting
-assembling equipment

-previewing rushes

Post production
-assembly for editing
-editing previewing director cut
-working on the final cut

The CARROT Co is an experiential art based organization formed to confront challenges facing the development sector using new media and tools to communicate to a targeted audience. 

The CARROT Co. is a collective of award winning African artists with IT experts, legal practitioners, community mobilisers, high level project managers and pan African activists working in the development sector to transform communication using the ART.

Our aim is to creatively simplify messaging, dignify African lives, and amplify social causes for an impactful and sustainable development. We have all worked, lived and experience several African countries with strength in multiple languages and cultural integration.

Source: Twitter and Facebook

19 September 2019

Amel Guellaty: Black Mamba (Afrika Film Festival Köln 2019)

Amel Guellaty 
Black Mamba

Amel Guellaty (Tunisia)
Black Mamba, 2017, 20 min.

African Shorts


For Sarra, a middle-class girl from Tunis, everything seems to be going as her mother planned: she is taking sewing lessons and she is soon to be married to a nice young man. But Sarra is hiding a dangerous plan from which she hopes to escape her current life.

Sarra, jeune fille de la classe moyenne de Tunis, mène, en apparence,  la vie ordinaire que sa mère lui a tracée : elle prend des cours de couture et s’apprête à épouser un gentil garçon. Mais Sarra a d’autres plans inavoués à travers lesquels elle veut échapper à sa vie actuelle.


Amel Guellaty is a Tunisian filmmaker and photographer. Parallel to her work in the cinema, she enrolled in 2014 at the International Center of Photography (ICP) in New York and began working for several brand names in the fashion industry, her photographs are published in magazines such as Elle France. She made her first personal exhibition "Voyage" in 2013 and participated in several other group exhibitions.

I wanted to write a story with a strong female character. I also have a rather dark aesthetic, violent, dirty.... Being a scriptwriter and director, writing and the image go hand in hand, and one influences the other. I write out my ideas without really knowing where I'm going. When I started writing I did not know how my film would end. I have an idea and then I get information, then I go looking for inspiration to build my characters. I do the work a bit in reverse...

Amel Guellaty est réalisatrice et photographe tunisienne. En parallèle à son travail dans le cinéma, elle s'inscrit en 2014 à L'International Center of Photography (ICP) à New York et commence à travailler pour plusieurs marques dans le milieu de la mode, ses clichés sont publiés dans des magazines tel que "Elle France". Elle réalise sa première exposition personnelle "Voyage" en 2013 et participe à plusieurs autres expositions de groupe.

J’avais envie d’écrire une histoire avec un personnage féminin fort. J’ai aussi une esthétique assez sombre, violente, sale.... Étant scénariste et réalisatrice, l’écriture et l’image vont de pair, et l’un influence l’autre. J’écris au fil de mes idées sans vraiment savoir où je vais. Quand j’ai commencé à écrire je ne savais pas comment finirait mon film. J’ai une idée et ensuite je me renseigne, puis je vais chercher l’inspiration pour construire mes personnages. Je fais le travail un peu à l’envers... 

Image source: