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.

ABOUT THE BLOGGER

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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

30 January 2019

L’association Taafé Vision: Brisons toutes les limites | Breaking all limits: "Ecrire au Féminin" (Women scriptwriting) Burkina Faso

L’association Taafé Vision
Brisons toutes les limites | Breaking all limits "Ecrire au Féminin(Women scriptwriting)
Burkina Faso 

Source :  Taafevision.org

L’association Taafé Vision oeuvre à une plus grande représentativité de la femme dans l’industrie cinématographique et à la revalorisation socioéconomique de la femme à travers le cinéma et l’audiovisuel. 

Leur mission, accompagner les femmes dans leur volonté d’être présentes, efficaces et compétentes dans l’industrie cinématographique et audiovisuel.

L’association a récemment lancé son appel à candidatures « Ecrire au Féminin », pour participer à une première série d’ateliers d’écriture et de réécriture de scenarios de courts métrages fiction, conçu autour du thème « Une femme forte ». Le programme de la formation, la résidence d’écriture, l'atelier de pitch et la finalisation des scénarios déroulent le 21 janvier au mai 2019.

*Résidence d’écriture avec une experte en scenario de France. Chaque scenario sera parrainé par un réalisateur confirmé qui viendra analyser le scenario pendant des rencontres organisées pendant le FESPACO 2019.

The Taafé Vision Association: Breaking all limits

The Taafé Vision Association strives for greater representation of women in the film industry and through cinema and audiovisual practices, the socio-economic empowerment of women.

Their mission is to support women in their desire to be present, effective and competent in the film and audiovisual industry.

The association recently launched its "Ecrire au Féminin" (Women scriptwriting) call for applications for participation in its first workshop series for scriptwriting and short fiction film script revision, conceived around the theme "A strong woman". The training program, scriptwriting residence, pitch workshop and script finalisation will run from January 21st to May 2019.

*The scriptwriting residency will be facilitated by a scriptwriting professional from France. Each scenario will be sponsored by a established filmmaker, who will come to analyze the scenario during organized sessions at FESPACO 2019.

28 January 2019

FESPACO 50: REMINDER | RAPPEL : Call for papers: 31 January | Appel à textes : 31 janvier

FESPACO 50
REMINDER | RAPPEL
Call for papers: 31 January
Appel à textes : 31 janvier

REMINDER: Call for papers for the publication of a Collective Book on the fiftieth anniversary of FESPACO (1969-2019)

RAPPEL : Appel à textes pour l’édition d’un Livre collectif sur le cinquantenaire du FESPACO (1969-2019)


English - Français ci-après









Fespaco 2019 : Official selection | Sélection officielle – Out of | Hors Competition

FESPACO 2019
Edition 26
50 years | ans (1969-2019)

Official selection | Sélection officielle
Out of | Hors Competition

 Confronter notre mémoire et forger l’avenir d’un cinéma panafricain dans son essence, son économie et sa diversité.

The essence, diversity and economies of pan-African cinemas: confronting memories, shaping futures


OFFICIAL SELECTION | SÉLECTION OFFICIELLE
OUT OF | HORS COMPETITION

Discoveries | Decouvertes
Panorama Long Métrage | Features
Special sessions | Séances spéciales


DISCOVERIES | DECOUVERTES

Abderrahmane par-delă les territoires | Abderrahmane-Beyond Territories by/de Valérie Osouf (France)

Als Paul über das Meer kam (Quand Paul traversa la mer | When Paul came over the sea) by/de Jakob Preuss  (Germany | Allemagne)

Boli Bana by/de Simon Gillard (Belgium | Belgique)

Congo Lucha by/de Marlène Rabaud (Belgium | Belgique)

Enfants du hazard | Children of Chance by/de Thierry Michel (Belgium | Belgique)

Je n’aime plus la mer | I Used to Like the Sea by/de Idriss Gabel (Belgium | Belgique)

L’aprés coup-la voix des Maliennes (After the coup in Mali-women’s voices by/de Erica Pomerance (Canada)

La prochaine fois que je viendrai au monde | In Another Life by/de Philippe Pierpont (Belgium | Belgique)

Le ministre des poubelles (The Minister of Garbage) by/de Quentin Noirfalisse (Belgium | Belgique)

Le reve français (French dream) by/de Christian Faure (France)

Les orphelins de Sankara (Orphans of Sankara) by/de Géraldine Berger (France)

Liyana by/de Amanda & Aaron Kopp (USA)


PANORAMA LONG METRAGE | FEATURES

A bout de souffle (Out of breath) Oumar Dagnon (Burkina Faso)

Burkinabe by/de Nthato Mokgata (South Africa/Afrique du Sud)

Caribbean Girl NYC (Une Guadeloupeenne à NYC) by/de Mariette Monpierre (Guadeloupe)

Chez Jolie Coiffure by/de Rosine Mfetgo Mbakam (Cameroon | Cameroun)

Dèyè mas la  (Derrière le masque | Behind the mask) by/de Dimitry Zandronis (Guadeloupe)

Etincelles (Sparks) by/de Riba Bawa Kadade (Niger)

Face au Dan Fani by/de Abdoul Karim Kone (Burkina Faso)

Hakili by/de Adama Coulibaly (Côte d’Ivoire)

I Am Not A Witch (Je ne suis pas une sorcière) by/de Rungano Nyoni (Zambia | Zambie)

Kilikis... douar lboum (Kilikis... La cite des hiboux | The city of owls)
by/d’Alaoui Azlarabe (Morocco/Maroc)

La République des Corrompus (The republic of the corrupted) by/de Salam Zampaligré (Burkina Faso)

Le bonnet de Modibo by/de Boubakar Diallo (Burkina Faso)

Le fou, le génie et le sage (The crazy, the genius, the sage) by/de Maïmouna Ndiaye (Burkina Faso)

Lima Barreto, Ao Terceiro Dia by/de Pilar Luiz Antonio (Brazil/Brésil)

Ma belle mere ma co-epouse (My mother-in-law, my co-wife) by/de Djingarey Moussa Hamadou (Niger)

Maki’la by/de Macherie Ekwa Bahango ( R.D. Congo)

Mweze by/de David-Pierre Fila (Rep Congo)

Orly by/de Francis K Tene (Cameroon/Cameroun)

Rattlesnakes (Les crotales) by/de Julius Amedume (Ghana/England | Angleterre)

Rencontrer mon père (Meeting my father) by/d’Alassane Diago (Sénégal)

Resgate  (Sauvetage | Rescue) by/de Dario Mickey Fonseca (Mozambique)

The Comeback (Le retour) by/de Sharvan Anenden (Ile Maurice)

Yafa  (Le Pardon | Forgiveness) by/de Christian Lara (Guadeloupe)


SPECIAL SESSIONS | SÉANCES SPECIALES

Familiar faces/Unexpected places : A Global African Diaspora | Visages familiers / Lieux insoupçonnes : Une diaspora africaine mondiale by/de Sheila S Walker (USA)

Footprints Of Pan Africanism (Les empreintes du panafricainisme) by/de Shirikiana Aina (USA)

Ka Nanan Ye (Ce n’est pas facile | It’s not easy) by/de Melina Kalfelis (Germany /Allemagne)

La vie de château (Life in Chateau) by/de Cédric Ido & Modi Barry (Burkina Faso /France)

Scattered Africa: Faces and Voices of the African Diaspora | L’Afrique éparpillée : Visages et voix de la diaspora africaine by/de Sheila S Walker (USA)

Wahenga (The Ancestors | Les ancêtres) by/d’Amil Shivji (Tanzania/ Tanzanie)

****

The films highlighted in bold will be featured on the blog African Women in Cinema.

Les films surlignés en gras vont être figurer sur le blog African Women in Cinema.

27 January 2019

Fespaco 2019 : Official selection | Séléction officielle - In/En Competion

FESPACO 2019
Edition 26
50 years | ans (1969-2019)

Official selection | Séléction officielle
In/En Competition 

Confronter notre mémoire et forger l’avenir d’un cinéma panafricain dans son essence, son économie et sa diversité.

The essence, diversity and economies of pan-African cinemas: confronting memories, shaping futures

PRESIDENT(E)S DES JURYS
Ahmed Bedjaoui: Longs métrages | Feature film
Nadia El Fani: Documentaire | Documentary
Sylvestre Amoussou: Courts métrages et de films d’écoles | Shorts  film schools
Cilia Sawadogo: Séries télévisuelles et de cinéma d’animation | TV serials and animation


SELECTION OFFICIELLE EN COMPETITION

Fiction Feature Films | Longs Métrages
Fiction - Short Films | Courts Metrages
Documentary | Documentaire – Feature | Long Metrage Documentaire
Documentary | Documentaire – Short | Court Metrage
TV Series - Séries Televisuelles
Animation Films | Films d’animation
School Films | Films des Ecoles


FICTION FEATURE FILMS | LONGS MÉTRAGES 

Akasha by/de Hajooj Kuka (Sudan | Soudan)

Barkomo (La Grotte) by/d’Aboubacar Bablé Draba & Boucary Ombotimbé (Mali)

Desrances by/d’Apolline Traoré (Burkina Faso)

Duga (Les Charognards | The Scavengers) by/d’Abdoulaye Dao & Hervé Eric Lengani (Burkina Faso)

Fatwa by/de Mahmoud Ben Mahmoud (Tunisia | Tunisie)

Five Fingers for Marseilles (Cinq doigts pour Marseilles) by/de Michael Matthews (South Africa | Afrique du Sud)

Hakilitan (Mémoire en fuite | Memory on the run) by/d’Issiaka Konaté (Burkina Faso)

Hakkunde by/d’Oluseyi Asurf Amuwa (Nigeria)

Ila Akhir Ezzaman (Jusqu’à la fin des temps | Until the end of time) by/de Yasmine Chouikh (Algeria | Algérie)

Indigo by/de Selma Bargach (Morocco | Maroc)

Karma by/de Khaled Youssef (Egypt | Egypte)

Keteke by/de Peter Sedufia (Ghana)

Mabata Bata de Joao Luis Sol by/de Carvalho (Mozambique)

Miraculous Weapons | Les armes miraculeuses by/de Jean-Pierre Bekolo (Cameroon | Cameroun)

Rafiki by/de Wanuri Kahui (Kenya)

Regarde-moi | Look at me by/de Nejib Belkadhi (Tunisia | Tunisie)

Resolution by/de Boris Oue & Marcel Sagne (Côte d’Ivoire)

Sew the Winter to my Skin (Coudre l'hiver à ma peau) by/de Jahmil X. T. Qubeka (South Africa | South Africa)

T-Junction by/d’Amil Shivji (Tanzania | Tanzanie)

The Mercy of the Jungle by/de Joel Karekezi (Rwanda)


FICTION - SHORT FILMS | COURTS METRAGES

Afiti by/de Wilfried Lengoye Ombamba (Gabon)

Au dela de ce mur | Beyond this wall by/de Aisha Jabour (Morocco | Maroc)

Baba Sifon by/de Laurent Pantaleon (La Réunion)

Black Mamba by/de Amel Guellaty (Tunisia |Tunisie)

Diphiri Le Makunutu by/d’Obett Motaung (South Africa | Afrique Du Sud)

Fragile espoir (Fragile hope) by/de Inoussa Baguian (Burkina Faso)

Goyave by/de Nènèb  Bépé & C. Agelan (Martinique)

Icyasha (Etiquette) by/de Marie Clémentine Dusabejambo (Rwanda)

Il pleut sur Ouaga (It’s raining on Ouaga) by/de Fabien Dao (Burkina Faso)

La page blanche (The White Page) by/de Mohamed Nadjib Lamraoui (Algeria | Algérie)

Le ban sur le rivage du lac (On the edge of the lakeshore) by/de Ambrose B. Cooke (Ghana)

Les larmes de mon people (The tears of my people) by/de Jacques Kolie (Guinea | Guinée)

Mes silences (My silences) by/de Benjamin Eyaga (Cameroon | Cameroun)

Miracle by/de Bongi Ndaba (South Africa | Afrique du Sud)

Naabiga (Le Prince) by/de Zalissa Zoungrana (Burkina Faso)

Ordur (De l’or dur |Hard gold) by/de Momar Talla Kandji (Sénégal)

Oumou, un destin arraché (Destiny ripped away) by de Gaoussou Tangara (Mali)

Pimentade by/de Stéphane Floricien (Guyana | Guyane)

Point zero by/de Boumaiza Nassim (Algiera | Algérie)

Positif by/de Michael Mbebele (Rep. Congo)

Posthume by/de Dja Damien Dally (Côte d’Ivoire)

Razana by/de Haminiaina Ratovoarivony (Madagascar)

Realpolitik by/de Morad Sail (Morocco | Maroc)

Rêve brisé (Broken dream) by/de Bêde Modeste Ganafe Mofedogna (Burkina Faso)

Sukari by/de Hatibuyusuph Madudu (Tanzania | Tanzanie)

Un air de Kora (Like a Kora) by/d’Angèle Diabang (Sénégal)

Une place dans l’avion | A Place in the Plane by/de Khadidiatou Sow (Sénégal)

Yassitoungou by/de Hurel Régis Beninga (République Centrafricaine)


DOCUMENTARY | DOCUMENTAIRE – FEATURE | LONG METRAGE

Amal by/de Mohamed Siam (Egypt | Egypte)

Au temps où les Arabes dansaient | When Arabs Danced by/de Jawad Rhalib (Morocco | Maroc)

By all means necessary (Par tous les moyens necessaires) by/de Suleman Ramadan (South Africa | Afrique du Sud)

Dawa, l’appel dieu (Call to God) by/de Malick Konaté (Mali)

Fahavalo, Madagascar 1947 by/de Marie-Clémence Andriamonta-Paes (Madagascar)

Ganda, le dernier griot by/de Ousmane Diagana (Mauritania | Mauritanie)

Ghana for you (Ghana pour vous) by/d’Adams Mensah (Ghana)

Jamu duman (Quel valeureux nom as-tu ?) by/de Salif Traoré (Mali)

Jean Rouch, cineaste africain by/de Idriss Diabaté (Côte d’Ivoire)

Kinshasa makambo by/de Hamadi Diedo (RD Congo)

Le cimetière des elephants | The cemetery of elephants by/d’Éléonore Yaméogo (Burkina Faso)

Le futur dans le retro by/de Jean Marie Teno

Le loup d’or de balolé (The golden wolf of Balolé) by/de Aïcha Boro (Burkina Faso)

Meu amigo fela (Mon ami fela) by/de Joel Zito Araujo (Brazil | Brésil)

Ntarabana by/de François Woukoache (Cameroon | Cameroun)

On a le temps pour nous (We have time for ourselves) by/de Katy Lena Ndiaye (Sénégal)

Pas d’or pour Kalsaka (No gold for Kalsaka) by/de Michel K. Zongo (Burkina Faso)

Silas by/de Hawa Essuman (Kenya)

Solaire made in Africa by/de Saguirou Malam (Niger)

Un sari sans fin by/d’Harrikrisna Anenden (Ile Maurice)

Whispering truth to power (Chuchoter la verité au pouvoir) by/de Shameela Seedat (South Africa | Afrique du Sud)


DOCUMENTAIRE | DOCUMENTARY – SHORT | COURT METRAGE
  
Against all odds (Contre toute attente) by/de Charity Resian Nampaso/ Andréa Iannetta (Kenya/ Italy | Italie)

Bibata est partie… (Bibata is gone) by/de Nana Hadiza Akawala (Niger)

Deambulation by/de Tovoniaina Rasoanaivo (Madagascar)

Inanga (Inanga, les gardiens d’une tradition | Guardians of a tradition) by/de Jean-Claude Uwiringiyimana (Rwanda)

L’appel du sang (The call of blood) by/de Raymond Tiendre (Burkina Faso)

L’energie, defi de survie à Nanagoun (Energy, the challenge for survival) by/de Sita Houelefohoua Silue (Côte d’Ivoire)

La femme lionne by/de Lobé Ndiaye (Sénégal)

La terre qui m’a vu naître (The land where I was born) by/de S. Barthélemy Bazie (Burkina Faso)

Le borgho (Le cor | the horn) by/d’Isidore Marie Alphonse Kabore (Burkina Faso)

Le père de Tilai (Tilai’s father) by/de Michel Kuate (Cameroon | Cameroun)

Pa’ta’ Kam, un semi-super centenaire au service des pierres (A semi-super centenary in the service of stones) by/de Laure M. Kamga (Cameroon | Cameroun)

T’bool (T’bool ou la danse du feu en pays Bassar | the fire dance in Bassar country) by /de Joel M’maka Tchedre (Togo)

Tata Milouda by/de Nadja Harek (Algeria | Algérie / France)
Tesfaye (Esperer | Hope) by/de Daniel Negatu (Ethiopia | Ethiopie)

Zanaka-Teny Nomen’i Felix (Ainsi parlait Felix| Thus spoke Felix) by/de Nantenaina Lova (Madagascar)


TV SERIES - SÉRIES TELEVISUELLES 

Au dela du destin (Beyond destiny) by/de Constantin Tchoua (Cameroon | Cameroun

Bamako by/de Gbehi Jean Noel Bah (Côte d’Ivoire)

Blog by/d’Akre Loba Diby Melyou (Côte d’Ivoire)

Femmes au foyer (Homemakers) by/de Kady Traoré (Burkina Faso)

Garmi by/de Cheick Diallo (Sénégal)

L’ami fidele (The loyal friend) by/d’Ibrahim Hebie (Burkina Faso)

La langue et les dents (Tongue and teeth, living together) by/de Boubacar Sidibe (Mali)

La Team des belles rebelles by/de Boubakar Diallo  (Burkina Faso)

Le trône (The throne) by/de Tahiroutasséré Ouedraogo (Burkina Faso)

Les coups de la vie | Life’s strokes by/de Marcel Guikou Alain (Côte d’Ivoire)

Otages d’amour (Hostages of love) by/d’Ebenezer Kepombia (Cameroon | Cameroun)

Petites histoires, grandes verités (PHGV) (Little stories, big truths) by/d’Ambrose B. Cooke (Ghana)


ANIMATION FILMS | FILMS D’ANIMATION

Belly Flop by/de Jeremy Collins (South Africa | Afrique du Sud)

Briska by/de Nadia Rais (Tunisia | Tunisie)

C pas drol-Karma by/de Kokou Daniel Atchali (Togo)

Da Tsysy Da by/de Tojo Niaina Rajaofera (Madagascar)

Falta by/de Claver Yameogo (Burkina Faso)

La malice de la bête (The malice of the beast) by/de Kossi Messan Akoda (Togo)

My Mother's Stew (Le ragoût de ma mere) by/de Sade Adeniran (Nigeria)

Seul avec Nubu (Alone with Nubu) by/de Honoré Essoh (Côte-d'Ivoire)

Tantara by/de Yannick Andrianambonisoa (Madagascar)

Tiraogo by/de André Daniel Tapsoba (Burkina Faso)

Un kalabanda a mangé mes devoirs | A kalabanda ate my homework by/de Raymond Malinga (Uganda | Ouganda)

Village apaise (Soothing village) by/d’Issouf Bah (Mali)


FILMS DES ECOLES

Au coeur du brouillard (In the heart of the fog) by/de Mohamed Boureima Adamou  – ISIS/SE (Burkina Faso)

Cocktail Explosif  by/de Malick Arnaud Kone – ISTC (Côte d’Ivoire)

Est-ce-Dieu ? (Is it God?) by/de Mariame Cisse – ISAG (Guinea | Guinée)

Incompris (Misunderstood) by/de Jaurès Koukpemedji – ISMA (Benin)

L’algaita au coeur du Manga (The algaita in the heart of Manga) by/d’Ari Adam – IFTIC (Niger)

L’aube d’un crepuscule (The dawn of a twilight) by/d’Ahmed Assane Zeda – ISIS/SE (Burkina Faso)

La poupée (The doll) by/d’Isabelle Christiane Kouraogo – ESAV (Morocco | Maroc)

Le combat d’une vie (The fight of a lifetime) by/de Xavienne Mariella Moukassa – INPTIC (Gabon)

Le taro de Lion by/d’Aboubacar Gnaissa  – ISAG (Guinea | Guinée)
Les charognards (The scavengers) by/de Mohamed Aly Diabate – ISTC (Côte d’Ivoire)

Maison de retraite (Retirement home) by/de N. Ismaël Césaire Kafando  – ISIS/SE (Burkina Faso)

Plumes blanches (White feathers) by/de Leul Shoaferaw – Ecole de Cinéma La Cinéfabrique (Ethiopia | Ethiopie)

The Mob by/de Gamel Baba Jnr Apalayine – University Of Ghana (Ghana)

The Photographer by/d’Ibrahim Yakubu – University Of Ghana (Ghana)

Viza by/de Komla Roger Gbekou – Institut Impec Prod (Togo)

 (Ressentiment | Resentment) by/de Giscard Roméo Bidossessi Dah-Fonton – ISMA (Benin)

***

The films highlighted in bold are the works made by women and will be featured on the blog African Women in Cinema.

Les films surlignés en gras sont des œuvres réalisées par des femmes et vont être figurer sur le blog African Women in Cinema.

25 January 2019

14e Festival cinémas d'Afrique - Lausanne - Août 2019 - Les inscriptions sont ouvertes - Registrations are now open!


Les inscriptions sont ouvertes
Registrations are now open!

Plus d'infos - More info


14e Festival Cinemas d’Afrique Lausanne
Appel à Films - Call for Entries

Inscription
Dans le cadre de la 14 édition qui aura lieu du 22 au 25 août 2019, le Festival cinémas d’Afrique- Lausanne lance son appel à candidatures.
La sélection est ouverte aux fictions, documentaires et animations et de tout genre.

Date limite des inscriptions: 1er avril 2019

Submission
14th edition of Festival cinemas d’Afrique – Lausanne will take place from 22-25 August 2019. The Call for Entries process is now open for fictions, documentaries, animated films, full length or short films.

Deadline: 01 April 2019

Envoyer à/to be Send to
Association Afrique Cinémas
Av. de la rasude 2
1006 Lausanne – Switzerland


24 January 2019

Eléonore Yaméogo: Le Cimetière des elephants (The Cemetery of Elephants) from an/d’un interview/entretien by/par Michel Amarger (Africiné)

Eléonore Yaméogo:  Le Cimetière des elephants (The Cemetery of Elephants) from an/d’un interview/entretien by/par Michel Amarger 

The English text below is drawn from the interview in French by Michel Amarger with Eléonore Yaméogo for Africine.org.

Français ci-apres

Eléonore Yaméogo meets with retired French missionaries living in retirement homes in France, in the regions of Bry-sur-Marne and Pau, after spending their active years in Africa. Father De Gaulle, the nephew of the French general-president, lived much of his life in her native village, Koudougou, and is now retired in Pau.

A endeavor initially framed as an encounter with the old priests who brought Christianity to her country—their memories, lived experiences, anecdotes —became a deeper project: a history of Africa, of colonisation, of independence—as key witnesses of Africa’s trajectories. Eléonore Yaméogo focuses on the missionaries of West Africa, specifically Burkina Faso and Mali. In addition, she draws references from the Burkinabé historian Magloire Somé, as well as from archival images and documents.

About Yaméogo’s relationship with the priests:

“When I am with them, for me, they are compatriots... I do not feel that I am speaking to French people, to white people. It's like I'm talking to a guy from my neighborhood. They know my country better than I do, and they speak my language, they know my region, the history of Burkina. I think Africa lives in them. In France, they are like strangers in their own country. They are there but their souls remain in Africa…It is as if they were waiting for this film. They are the last generation…It was important for them to talk, and for me it was important that they give their point of view on their role in the history of colonisation…”

Yaméogo, positioning herself as the filmmaker in relationship to her Christian faith:

In making this film, I was hoping to position myself in relationship to my faith today, where I am within this faith. But when I put my camera aside, I realised that I am even more lost than I was at the beginning. Having met these protagonists, these men who brought Christianity to my country, it troubled me more than anything else. So today, I do not know if I can say that I have faith. I am Christian, it is my religion, but I do not know. At the same time, when I wake up in the morning, I still catch myself making a sign of the cross. Even at the end of the shoot, I asked my mother to ask for a mass of thanksgiving at the church in Ouagadougou, to say thank you to the Lord for allowing this film. I hope that all the debates that the film brings will help me to situate myself.”

An African woman filmmaker doing a film about white male missionaries:

“There was a certain aspect, I would not say seduction, but a little bit in this sense. Being a woman in the presence of these missionaries, these priests who have been deprived of women throughout their lives, when today they find themselves with an imposing Black woman who arrives in their retirement home, I think that they enjoyed that. They said to me, "You bring us light." We spoke in African languages, they were all very happy. Some even forgot to follow their medical routine, they continued to talked with me and the nurse was obliged to come. They forgot that they were sick actually. My coming to their home was like a kind of therapy. It was good for them physically, morally. To be able to speak, to go back in their memories, it was a good experience.”

A personal approach…

“This story is about my meeting with this retirement home, my meeting with Father De Gaulle whom I met in Koudougou, who saw me grow up and who I later find in the twilight of his life. This story is personal and many Africans will find themselves within my approach of telling this story, because I know that many like me, today, ask themselves the same questions.”

[Français]

Dans Le Cimetière des elephants, la réalisatrice du Burkina Faso, Eléonore Yaméogo, questionne le rôle des missionnaires catholiques en Afrique et leur rapport avec la colonisation. POUR LIRE L’INTEGRALITE: http://www.africine.org/index.php?menu=art&no=14553

Kitwana’s Journey, an animation film by Ng'endo Mukii commissioned by Awareness Against Human Trafficking Kenya

Kitwana’s Journey, an animation film by Ng'endo Mukii commissioned by Awareness Against Human Trafficking Kenya

Synopsis

Kitwana’s Journey (2019)

This is the story of a boy named Kitwana. A boy who laughed and played, and went to school, and did all the things that children do.

One day Kitwana’s life would change and not for the better. This however, nobody knew.

This short film is based on a true story, and commissioned by HAART (Awareness Against Human Trafficking) Kenya.

Awareness Against Human Trafficking (HAART) is a non-governmental organization based in Nairobi, Kenya. HAART is an organization dedicated towards ending modern slavery in Kenya and east Africa.

(Source: Vimeo)
Image from screen capture

Biography

Ng'endo Mukii holds a Master of Arts from the Royal College of Art (2012) in London, and a Bachelor of Arts from the Rhode Island School of Design (2006), USA.
She is based in Nairobi as an independent filmmaker, participating in artist residencies and holding workshops at various institutions internationally.

Her films have won multiple international awards, including Silver Hugo for The Best Animated Short at the Chicago International Film Festival 2013 for Yellow Fever, Best Animation Production at the 2015 Kalasha Awards for This Migrant Business, and the 2017 Immersive Encounters Grand Prix for her 360 virtual reality film, Nairobi Berries.

She is a Design Indaba 2015 Speaker and a Berlinale Talents 2014/15 Alum.

For more information about film see https://www.ngendo.com/


Kitwana's Journey Trailer from Ng'endo Mukii on Vimeo.

Oufsaiyed Elkhortoum (Khartoum Offside) by Marwa Zein - Official World Premiere in Berlinale Forum 2019

Oufsaiyed Elkhortoum (Khartoum Offside)
by Marwa Zein

Oufsaiyed Elkhortoum (Khartoum Offside), 75 min. by Marwa Zein (Sudan / Norway / Denmark). Release date February 2019


Description

The feature documentary film tells a story that reveals Sudan's multi-layered depth; where social, political and economical situation affect even football.

“What if your country is going through political, economical and social challenges, can women  dream big?  What if they are playing football?”

Among the protagonists of Marwa Zein's documentary, Sara is the one depicted with a remarkable entrepreneurial mind. And the group of young sporty women she belongs to is very much in need of business models to make their dream come true: putting together a Sudanese team for the FIFA Women’s World Cup. But besides lack of finances, there are quite a lot of other obstacles to overcome. Oufsaiyed Elkhortoum explores this feminist universe on the outskirts of Sudan's capital, where jokes are cracked as versatile as the ball is kicked into the goal. The young women, with and without veil play football, take their smartphones to bed: they are bond by street smarts and staggering energy which have brought them together as a sports team that doubles up as a collective survival strategy. Demonstrating considerable intimacy with these women, Oufsaiyed Elkhortoum reveals their daily lives in a city full of contradictions, showing how family traditions, politics and religion dare to dictate their life plans. Marwa Zein’s debut is at once cinematic proof of the power of female friendship and a Sudanese filmmaker’s concerted effort to rectify stereotypical perceptions of her country. Source: berlinale 

Biography

Sudanese, Marwa Zein El Abdin Seed Ahmed Fadl Arbab, explorer and creator, was born in Mecca, Saudi Arabia. She lived and studied in Cairo, Egypt and now between Sudan and France.

After studying chemical engineering for 3 years at Cairo University, she decided to discontinue in order to pursue film directing at the High Institute of Cinema in Cairo. She graduated in 2009 with an honorable mention.

She has since worked as Assistant Director in Egypt / Lebanon with film directors such as Dawoud Abdelsayed , Hala Khalil, Khairy Beshara , Dr. Sherif Sabri and Shady El-Fakharany”.

“I believe that films are made to tell a story, give a feeling .. make you think or make you feel lost and maybe sometimes just to speak your confusion and dark sides ..”

Source: marwazein.com

Links



22 January 2019

FirstShort 2019: Appel à films prolongé | Call for films extended

 First Short a prolongé le delai de reception de films au 02 février 2019

First Short has extended the deadline for reception of films to 02 February 2019

https://www.firstshort.org/index.php/actualites-first-short/50-appel-a-films-first-short-2019
 

[Français]
Le Président de l’Association CINEVISION a le plaisir d’annoncer la sixième édition du FIRST SHORT (Festival Panafricain de Films d’école de Yaoundé) qui se célèbrera dans la ville de Yaoundé du 10 au 13 Avril 2019. Le festival est dédié aux films d’école courts métrages (fiction, documentaire, animation) allant de 0 à 30 minutes génériques inclus.

Peuvent faire office de candidature, tout camerounais ou étranger qui fréquente ou qui a fréquenté dans une école, académie ou institut de formation aux métiers du cinéma et de l’audiovisuel. Aussi, il existe une catégorie réservée aux réalisateurs qui n’appartiennent à aucune école de cinéma et de l’audiovisuel.

Pour les candidatures, bien vouloir nous contacter aux adresses suivantes pour entrer en possession du règlement et de la fiche d’inscription du festival.

Email: info@first-short.org ou firstshortyaounde@gmail.com

[English]

The President of Association CINEVISION is pleased to announce the sixth edition of FIRST SHORT (Panafricain Festival of School Films of Yaoundé) which will be celebrated in the city of Yaoundé from 10-13 April 2019. The festival focus is on short films (fiction, documentary, animation) from film schools ranging from 0 to 30 minutes, including titles.

Cameroonian or foreigners who attend or have attended a school, academy or training institute in cinema and audiovisual profession may apply. Also, there is a category reserved for filmmakers who do not belong to any film and audiovisual school.

For application information, general rules and registration form of the festival contact First Short at the following email address: info@first-short.org or firstshortyaounde@gmail.com

APPEL À ARTICLES | CALL FOR ARTICLES: Les filières cinématographiques en Afrique et au Moyen-Orient au prisme du genre : Enjeux, questionnements et terrains | Gender and Film in Africa and the Middle East: Issues, questions and empirical research

Appel à articles |  Call for Articles

Les filières cinématographiques en Afrique et au Moyen-Orient au prisme du genre : Enjeux, questionnements et terrains

Gender and Film in Africa and the Middle East: Issues, questions and empirical research
 
HESCALE – Histoire, économie, sociologie des cinémas d’Afriques et du Levant



http://www.groupe-hescale.com/appel-a-articles/
À travers cet appel à contributions lancé dans le cadre des activités du réseau HESCALE, nous aimerions rassembler une communauté de chercheurs et chercheuses intéressé.e.s par le défrichage de questions liées à la place, à la présence et à la visibilité des femmes dans les filières cinématographiques en Afrique et au Moyen Orient.

Soumission des abstracts en français ou en anglais : 7 février 2019


(500 mots + courte bibliographie + mini-bio)
Retour des évaluations : 20 mars 2019
Premier rendu intermédiaire : 22 juin 2019
Rendu final de l’article : 15 septembre 2019
Sortie de la publication et colloque valorisation : 1er semestre 2020

http://www.groupe-hescale.com/call-for-articles/
This call for articles within the framework of the activities of the HESCALE network is aimed at constituting a community of researchers interested in opening new lines of research around the presence, the position and the visibility of women in the film sectors in Africa and the Middle East.

Submission of abstracts in English or in French: 7 February 2019


(500 words + short bibliography + 5-line biography)
Notification of authors: 20 March 2019
First draft: 22 June 2019
Final draft: 15 September 2019
Conference promoting the publication: 1st semester of 2020



17 January 2019

Nejib Ayed : "Le cinéma est un vrai mur contre le terrorisme" Entretien avec le Directeur des JCC, Tunis |"Cinema is a real barrier against terrorism". Interview with the Director of JCC, Tunis by/par PÉLAGIE NG'ONANA (Africine)

Nejib Ayed : "Le cinéma est un vrai mur contre le terrorisme". Entretien avec le Directeur des JCC, Tunis  | "Cinema is a real barrier against terrorism". Interview with the Director of JCC, Tunis by/par PÉLAGIE NG'ONANA (Africine)

Africine.org. 8 Jan 2019. Translation from French by Beti Ellerson. (An African Women in Cinema Blog/Africiné collaboration).

[English] Français ci-après

Interview with the Director of JCC, Tunis, by Pélagie Ng'onana in Tunis.
The director of the Carthage Film Festival presents a festival whose aim is to uphold its successes, while concentrating on strengthening the professional circuit of the cinemas in Africa and the Arab world. The JCC 2018 was held in Tunis (and various milieus), from 3 to 10 November 2018.

You have been at the head of the JCC for two years. What do you consider to be the main challenge(s) in the organization of this festival?

There are many challenges. The one in which we have succeeded since the creation of the festival is called the challenge of the public, which is probably the most difficult thing in most festivals. Our festival was created by its own public: the film enthusiasts of the ciné-clubs in 1966; while there was not even a Tunisian cinema, there were Tunisian film-goers. The creators of this festival, Tahar Cheriaa and others, were all the facilitators of film clubs. It was from that moment that this challenge was won, and to the present it has never been rejected. The second thing is to fulfil the wishes of the elders, which can be summarised in three or four points, which is what I called a return to fundamentals. It is essentially the fact that we are an African and Arab festival. Not an Arab festival with African zest. There must be a kind of balance between Africa and the Arab countries at the film level, at the level of the presence of film personalities. It is important for us. We are a festival of the South. We are a tri-continental festival. Strategically our strength is in Africa, of course. But it is also in Asia and Latin America. This is something that allows us to be different. The third thing is that we are an activist festival for cinema and the causes of our communities. We do not want to look like any other festival. We are in the heart of the 21st century but these are goals that were set in 1966. We are also a festival aimed at the international promotion of our films. That is, our films must have a podium in their own countries. Hence, facilitate the circulation of films between Arab and African countries, but also within other regions of the world. It has always been more or less done but never in a manner that has been really thought through. We have a professional platform that has been in existence for four years now. Starting this year we decided to make this platform much stronger, much more important. There is the technical workshop for completion and assistance with post-production. We have earned the challenge of the public; we must win the professional challenge.

There are five sections in this platform: Sabaka which means "network", Takmil, the International Conference, Carthage Talk and the Master Classes. We brought in stakeholders (distributors, operators, international sellers, producers ...) of a certain calibre and we chose them because they are interested in Arab and African cinema. I think this year there will be much more tangible results. We wish to become a hub where all those who want to deal with African and Arab professionals must come to Carthage. It takes time but I hope we will get there.

The selection of this edition, in fact, is a part of this activist cinema...

When we choose our films and our guests it is because they meet a certain editorial line. The film, of course, must be of obvious artistic and technical quality. It must be the transporter of ideas for the future. It is not just political militancy. It is a very broad concept. The term activist is very modern too; it is something that accompanies us in our present day concerns, with all that is happening, this effervescence. This return of a neo-colonialism, a kind of imperialism that is even changing colours and faces. Finally, it is always very important to be aware of it and that our festival reflects what these films reflect.

In the past, the Tanit envelope [the trophy of the festival of Carthage] went entirely to the director, now it is shared with the producer. What is the explanation for this?

It is more equitable. A film is not made with a director; there is a lot of upstream work that is done by a producer. It can be the same person, in which case he or she is entitled to everything. I am a producer, and I am against this idea that because a director signs, it is he or she who gets all the laurels. It would be a good thing that people understand that cinema is made in partnership. Once again, it is a return to fundamentals and for me it is much more fair that both the producer and the director benefit from the award. Especially since the work of producer today in African and Arab cinema has become crucial. Without producers it is a nightmare. When we have a concern for money we cut in the scenario, whereas when we have a producer, the director can say: “no I have to film that and it is up to the producer to find the money”. For me, it is important that this director-producer relationship is institutionalized and that there is a real separation. What we have done again since last year in relation to the festival's workshops is to invite the director and producer of the film. Because when we have to produce or co-produce a film, we need both people there to defend their project and look for partners. So, it is a whole philosophy behind it.

The screenings in the prison environment, it is also an initiative that reflects the JCC ...

We have been doing this for four years now, sincerely I think it is one of the most beautiful ideas of JCC. We do not do this alone but with two partners: the World Organization Against Torture and the Directorate of Prison Units. What is important is that there are structured screenings. It is not fair to only show a film in a prison and stop there, so it is organised with the idea of continuity. For example, there are some prisons in which a movie theatre has been built for us. There is now a film club there. In October this year, we screened a film in the country's largest prison. The prison administration constructed a huge tent for some 700 seats, about 500 prisoners saw the film and were able to have a discussion with the crew and the filmmaker. We also showed the film in the rooms of all the prisoners. For me it is a great experience and it is leading to cinematographic activities. Now there is even film production on the inside…But it's a responsibility. People who have to leave prison at some time, I do not want them to be marked by the fact of having been there. But they are galvanised. They make films, do theatre, music, they produce, they create ciné-clubs.

What is the response to the presence of JCC in other cities beyond Tunis?

In these regions also it is the same rationale. In the past, we did a kind of caravan, going to about fifteen cities, doing screenings only and then returning. Now we want to create festival bases in the cities where we go. The first of our conditions is that ultimately there is a festival that must take place, the second is that it must have technical conditions and the most innovative reception and that there is not film festival that already exists in the city. The third condition is that the regional, local authorities and the civil society are interested in the idea of ​​creating the festival and taking charge of the operation. It seems to be working, since last year we did it in four cities, and we have three festivals that are in the process of doing so. This year also we have chosen four cities…

Especially that the local public engages appropriately with cinema ...

A few years ago the public had a certain concern about the cinema houses. In fact they only came to the JCC and certain organized events. Today, with the interest essentially given to Tunisian cinema, theatres have relative success. In terms of audience, a Tunisian film beats out an American blockbuster. Our audience is a very open public. They accept what audiences in neighbouring countries do not. For example, films about sexual minorities. Elsewhere, neither the authorities nor the audience allows it. Here some of these films even win awards. This means that when we talk about value we are militant. And it is not a militancy that disrupts, but a militancy that constructs. We defend the fact that everyone has the right to speak; hence, there is tolerance. People listen to each other; watch each other's films, so they can discuss them. That is our mission as well.

Tunisian production is also reviving ...

Last year, there were 37 feature films and 41 Tunisian short films presented at JCC. This year there are 17 feature films and 51 short films. Progressively, there is a genuine production coming into existence. What is interesting is that the production is not necessarily funded by the state, about 50% of the films; and among which are films of very high quality.

An attack happened three days before the opening of the JCC. Do you think it was the festival that was targeted?

In all modesty, I know that the JCC were the target. This is the second time that it took place in Tunis and in both cases it was the JCC. In 2015, there was an attack in the midst of the JCC, and this year three days before the JCC there was an attack. Knowing the importance of this festival on the national and international level, they tried to create a sense of panic. What happened is exactly the opposite. None of our invited guests cancelled. In any case we operate within a simple logic. We are against terrorism. Cinema and culture in general is a real barrier against terrorism. The rationale for security is necessary, but it is this type of festival that allows one to say no to this kind of practice.

[Français]
Le directeur des Journées cinématographiques de Carthage présente un festival qui veut bien préserver ses acquis, tout en se souciant de rendre plus fort le circuit professionnel des cinémas d'Afrique et du monde arabe. Les JCC 2018 se sont tenues à Tunis (et divers lieux), du 3 au 10 Novembre 2018. POUR LIRE L’INTEGRALITE  : http://www.africine.org/index.php?menu=art&no=14551



09 January 2019

2019 - Appel à film | Call for films - Festival International des Films de Femmes de Cotonou | Cotonou International Women's Film Festival (Benin)

2019 - Appel à film | Call for films - Festival International des Films de Femmes de Cotonou | Cotonou International Women's Film Festival (Benin)

Ecran Benin: https://www.ecranbenin.net?p=4234

L'appel à film pour la première édition du Festival International des Films de Femmes de Cotonou est lance | Call for films is launched for the first edition of the Cotonou International Women's Film Festival.

[French]
English below

L'association ECRANBENIN a l'honneur de porter à la connaissance des femmes professionnelles du cinéma que les inscriptions pour la sélection des films de la 1ere  édition, prévue pour se tenir du 13 au 17 septembre 2019, sont ouvertes.

La sélection comporte deux sections principales :

(1) La section compétition officielle des films courts-métrages qui est réservée aux films de réalisatrices africaines

NB : Aucun film de plus de deux (02) ans d'âge au 31 Mai 2019 ne sera sélectionné.

(2) La section hors compétition qui est ouverte aux films des cinéastes femmes du monde :

- films abordant les problèmes auxquels les femmes sont confrontées;
- films mettant en exergue le savoir-faire ou le parcours d'une femme afin d'inspirer les autres femmes.

Toute inscription à la sélection implique l'acceptation des conditions et du règlement de la 1ere édition du FIFF Cotonou: https://www.ecranbenin.net/

Les dossiers d'inscription sont recevables à l'adresse électronique  au fiffcotonou@ecranbenin.net au plus tard le 31 Mai 2019

[English]

The ECRANBENIN association has the honor to announce to women film professionals that inscriptions for the selection of films for the 1st edition, to be held from 13-17 September 2019, are open.

The selection has two main sections:

(1) The official competition section of short films, which is reserved for films by African women directors.

NOTE: Only films dating less than 2 years on 31 May 2019 will be selected.

(2) The out-of-competition section, which is open to films by women filmmakers of the world, consists of:

- films addressing the problems facing women;
- films showcasing the knowledge or the career of a woman as role model to inspire other women.

Any registration for the selection implies the acceptance of the conditions and regulations of the first edition of the Cotonou FIFF, go to: https://www.ecranbenin.net/

Registration forms must be received by e-mail at fiffcotonou@ecranbenin.net no later than 31 May 2019

07 January 2019

African Women in Cinema Dossier by Beti Ellerson: a regular feature of Black Camera, An International Film Journal

African Women in Cinema Dossier by Beti Ellerson: a regular feature of Black Camera, An International Film Journal
  • African Women of the Screen as Cultural Producers: An Overview by Country  (Fall 2018)
  • On-screen Narratives, Off-screen Lives: African Women Inscribing the Self (Spring 2018)
  • Traveling Gazes: Glocal Imaginaries in the Transcontinental, Transnational, Exilic, Migration, and Diasporic Cinematic Experiences of African Women (Spring 2017)
  • African Women and the Documentary: Storytelling, Visualizing History, from the Personal to the Political (Fall, 2016)
  • Teaching African Women in Cinema, Part Two (Spring 2016)
  • Teaching African Women in Cinema, Part One (Fall 2015) 

African Women of the Screen as Cultural Producers: An Overview by Country  (Fall 2018) https://africanwomenincinema.blogspot.com/2018/11/black-camera-african-women-of-screen-as.html


African women as cultural producers in the realm of the moving image, screen culture, audiovisual media—what are their experiences? These women who work actively in the behind-the-scenes roles; in front of the screen as journalist, critic, cultural reader; in the corridors as organizer, activist, advocate, promoter in the vast cinematic enterprise, many wearing multiple hats as filmmaker, actor, presenter, producer, scholar. Whether working on the local, regional, continental, international, or transnational level, their role is vital, their work essential. This survey by country provides an indication of the span of activities of these cultural workers: most striving for the cause, or out of a sense of duty, or of purpose—some in perilous situations, so that African images are seen and stories told—produced, disseminated, distributed, exhibited, discussed, critiqued, documented, archived, preserved.

On-screen Narratives, Off-screen Lives: African Women Inscribing the Self (Spring 2018) https://africanwomenincinema.blogspot.com/2018/05/black-camera-on-screen-narratives-off.html

The journeys of on-screen characters, while most do not reflect the off-screen trajectories of the real-life women, some do provide glimpses that parallel the paths that these women have voyaged in their own lives, perhaps influenced by their characters, or more brutally, because of them. Their travels, imaginary and real, had some relationship to their roles as actor and/or the choices they later made as a result of their encounter with/within the world of cinema. It is their on-screen legacy, especially in the case of iconic films, that has been the most enduring; as these women, far removed from their fame in these early films, live quiet off-screen lives a long way from the experiences of their cinematic characters.

Moreover, the filmmakers, who navigate frontiers, negotiate relocations and displacements to extra-African environments, inscribe an autobiographical journeying, problematizing these itinerant identities in their films. Likewise, traveling, sojourning and relocating across the globe involve shifting or ultimately expanding the identity of their cinema. Hence, an exploration of on-screen representations offer a larger picture of their experiences in front of and behind the camera.

Traveling Gazes: Glocal Imaginaries in the Transcontinental, Transnational, Exilic, Migration, and Diasporic Cinematic Experiences of African Women (Spring 2017) https://africanwomenincinema.blogspot.com/2017/05/black-camera-spring-2017-beti-ellerson.html

The exilic and diasporic filmmaking experiences of African women of the screen have been evident from the start of African cinematic practices. Women have traveled and relocated outside of their homeland to study, edit, shoot, work, live, and network. Informed by Hamid Naficy's formulation of “accented cinema,” this article traces these peripatetic migrations framed within selected topics that are representative of the histories, trends, and tendencies throughout the evolution of African women in cinema: Oscillating between hostland and homeland, defining home(s) is a frequent practice. In the interstices of hostland and homeland, navigating in third space is a recurrent theme, as well as the mediation of exilic identities. The common phenomenon of intra-continental migration also leads to diasporic discovery. As a growing cohort of African women are born, raised, or settle in the United States, they are also negotiating within the dominant African American paradigm. Germany, a lesser-known site for Afro-women's cinematic journeying, is emerging as an important space for study, work, and exploration. Several questions are posed for reflection and research.

African Women and the Documentary: Storytelling, Visualizing History, from the Personal to the Political (Fall, 2016) https://africanwomenincinema.blogspot.com/2016/10/african-women-and-documentary.html

The practice of storytelling, of relating actuality, the real, of recounting history, the personal, the social, the political, are all features of the screen culture in which African women have evolved in myriad ways as stakeholders in the cultural production of their society and the world. Telling stories through documentary in particular has been a dominant mode of expression among African women, perhaps out of a genuine interest in addressing the pressing issues in their societies and relating stories that would otherwise not be told. Their filmmaking practice is indicative of the diversity of themes they address, using eclectic approaches: autobiographical, experimental, hybrid, consciousness-raising, socio-political, as well as within trans-local and transnational spaces—some going beyond the cultural references of the filmmakers. This article brings together current trends and tendencies incorporating African women who span the globe, utilizing diverse languages, reflecting a plurality of experiences, histories, cultures, and geographies.

Teaching African Women in Cinema, Part Two (Spring 2016) https://africanwomenincinema.blogspot.com/2016/06/teaching-african-women-in-cinema-part.html

The second part of this essay offers a primer on African women in cinema studies, which is based on actual courses, seminars, and lectures and draws directly from articles posted on the African Women in Cinema Blog since its inception in 2009.

Teaching African Women in Cinema, Part One (Fall 2015) https://africanwomenincinema.blogspot.com/2016/02/teaching-african-women-in-cinema-part.html

Women in front of the screen, as cultural readers, scholars, critics and theorists of African women in cinema studies also have a vital function in the study and analysis of cultural production as it relates to women's role in creating, shaping and determining the course of their cinematic history, the intellectual and cultural capital that it produces, and the intangible cultural heritage to which it contributes.

Women in cinema as a study and research focus has an extremely broad range of discourse and practice. Women on, in front of, behind the screen--as storytellers, makers, producers, scriptwriters, actresses, role models, consciousness raisers, practitioners, technicians, organizers, fund-raisers, social media community managers, bloggers, agents of change, activists, advocates, audience builders, cultural producers, cultural readers, film critics, scholars, and researchers--all contribute to the idea of "African Women in Cinema" as a conceptual framework.

01 January 2019

2019 Polyglot


Bonne année

Ezi Afọ Ọhụrụ

Feliz año

Frohes neues Jahr

Gore Idzva Inofara

Happy New Year

Mwaka Mpya Mpya

Ọdun Titun Ọdun

Sabuwar Shekara

Unyaka Omusha Ojabulisayo

Unyaka oNwabileyo

etc…