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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28 February 2017

Luxor African Film Festival 2017: Children of the Mountain | “Les enfants de la montagne” by/de Priscilla Anany (Ghana)

Luxor African Film Festival 2017:
Children of the Mountain 
by/de Priscilla Anany (Ghana)


Synopsis: Children of the Mountain “Les enfants de la montagne” (2016) 

Children of the Mountain is a story about a woman who gives birth to a deformed and sickly child. Because she’s criticised and blamed for her child’s conditions, she becomes determined to do everything in her power to find a cure of him. When all fails and she becomes hopeless, she is pushed to getting rid of her child.

Children of the Mountain (Les enfants de la montagne) raconte l'histoire d’une femme qui donne naissance à un enfant déformé et malade. Elle est critiquée et blâmée pour les conditions de son enfant, donc, elle est déterminée à faire tout son possible pour trouver une cure pour le soigner. Quand tous les autres recours ont échoué et qu'elle se trouve sans espoir, elle est poussée à la pointe de se débarrasser de son enfant.

Luxor African Film Festival 2017: Zin’naariya ! | The Wedding Ring | L’Alliance d’or by/de Rahmatou Keïta (Niger)

Luxor African Film Festival 2017
Zin’naariya ! | The Wedding Ring | L’Alliance d’or by/de Rahmatou Keïta (Niger)



The Wedding Ring – (Source: IFFR
The Wedding Ring (screen shot)
Tiyaa, a beautiful young woman from an aristocratic family, returns after a study in Paris to her place of birth, the Sultanate of Zinder in Niger. Her girlfriends and aunts soon notice that a shadow of sorrow hangs over her. She had to leave her lover behind in Paris and she is at a loose end back home. During a consultation with a zimma, a wise old man, she is advised to wait for the new moon to perform a love ritual.

Until that time, she roams the community having conversations with women of all ages, who offer her an insight into their love life and sensuality, taboos and culturally-defined codes, with a dash of mysticism.

L’Alliance d’or (Source: Africultures
Tiyaa est récemment de retour chez elle, dans le Sultanat de Zinder, après avoir fini ses études. La jeune femme essaie de surmonter le souvenir d’une histoire d’amour douloureuse. La promesse mystique d’un prince charmant souffle vers sa direction.

Frontières, by/d'Apolline Traoré : “Four women tackling African integration” | Quatre femmes à l'assaut de l'intégration africaine by/par Sid-Lamine Salouka

Frontières, d'Apolline Traoré : “Four women tackling African integration” | Quatre femmes à l'assaut de l'intégration africaine 

Africine : published/publié 27-02-2017: by/par Sid-Lamine Salouka. Translation from French by Beti Ellerson.

[English] Français ci-après

The opening film of the 25th edition of the Pan African Festival of Cinema and Television in Ouagadougou (Fespaco) is a road movie by Apolline Traoré where, as usual, the Burkinabè filmmaker focuses on the empowerment of African woman. As the road movie is a cinematic genre that puts the voyage at the heart of its adventures, by its title ("Frontiers") Apolline Traoré's third feature is framed from the start as a fantastical journey of the problematic passage from one country to another. Indeed, the thread of the film is the trip from Dakar to Lagos by Hadjara (Amélie Mbaye), a Senegalese voyager who travels to buy goods for the women's association of which she is a member. In her crossing of West Africa, she meets and befriends three other women. The first is Emma (Naky Sy Savane), an Ivorian merchant who has been wayfaring on the roads for fifteen years without knowing why. In addition, there is Micha (Unwana Udobang), a Nigerian living in Burkina Faso who returns to her country to attend her sister's wedding, and eventually to reconcile with her family. Finally there is Sali (Adizétou Sidi), a young student of Bobo-Dioulasso who carries out a task for her fiancé in the capital of Nigeria. More than friendship, it is their similar quest that brings the heroines together: to free themselves from the authority of men and to assert themselves as people in their own right. If the purpose of this film is indeed African integration, especially within the Economic Community of West African States (ECOWAS), it is the slice of life of a week on the road of the quartet that is supposed to keep the viewer in suspense. During their expedition, it is the excesses of the phallocratic powers in their raw versions, that each of the women is confronted, more so than the administrative and sovereign ideologies of the countries. These States, and the absurd laws on which they seem to be based, are only pretexts in the hands of corrupt policemen and customs officers. They are mainly men, for the women civil servants are exemplary, such as a police officer who stops a thief and a jewellery trafficker. Moreover, racketeering and sexual abuse are commonplace among men of power.

But this seems to be the common lot of the woman: the husband of Hadjara beats her daily, while the fiancé (manipulator) of Sali does not hesitate to involve her in drug trafficking without her being aware of it. However, the discovery of this trafficking on the border between Benin and Nigeria creates an even closer bond between the four women, who mount their attack against the rogue authority in official uniform, giving the film a certain suspense. Gender issues are a constant feature in Apolline Traoré's films. In her last feature ("Moi, Zaphira"), a young widow lives in a village called Lagassa. The word, which means "Vaurien" in Dioula, but is pronounced "Lakassa", carries the meaning "lay down and die". In this village, the men, who refuse to cultivate a fertile land, rely on foreign aid for their survival. Zaphira, who dreams of a better destiny for her daughter, disguises herself as a man, and is employed as a miner on a nearby gold mining site. In "Frontières", the destinies of courageous mothers are also celebrated; even if some of their methods are dubious. For example, in order to obtain a pass, Hadjara shamelessly seduces a Senegalese customs postmaster at the beginning of the film. But later, she puts herself at the head of a commando that saves Sali from being raped. If the second action is commendable, the first sounds like the behaviour of a slut...

This is one of the difficulties of the film, which tries to reconcile the political ambition of the co-producer, ECOWAS, and the personal cause of the filmmaker. Placed between these two desires, the scenario of Apolline Traoré remains weak in its construction. The four portraits of women appear as many layers that overlap though without any real depth. And the characters, far from having texture, appear like incomplete sketches. The actresses’ performance, which fails to restore the truth of the characters, reinforces this perception. This, even if the casting and the mise en scène have improved considerably compared to "Moi, Zaphira". Another proof of the wide discrepancy in the work is the need to justify the message by a speech in voiceover that literally kills the film. Clearly, Apolline Traoré's passage to the road movie, even if full of well-meaning intentions, reveals above all, the choice of a framework a bit too large.


Le film d'ouverture de la 25ème édition du Festival panafricain du cinéma et de la télévision de Ouagadougou (Fespaco), est un road movie d'Apolline Traoré où, comme à son habitude, la réalisatrice burkinabèe se penche sur l'émancipation de la femme africaine.

Le road movie est un genre cinématographique qui met le voyage au cœur de ses péripéties. Par son titre ("Frontières") le troisième long métrage d'Apolline Traoré se pose d'emblée comme un parcours rocambolesque au cours duquel le passage d'un pays à un autre pose problème. En effet, le fil conducteur du film est le voyage que la Sénégalaise Hadjara (Amélie Mbaye) effectue de Dakar à Lagos ; elle doit y acquérir des marchandises pour de l'association féminine dans laquelle elle milite. Dans sa traversée de l'Afrique occidentale, elle rencontre trois autres femmes avec qui elle se liera d'amitié. Tout d'abord, il y a Emma (Naky Sy Savané), une commerçante ivoirienne qui traficote sur les routes depuis quinze ans sans plus savoir pourquoi. Outre Micha (Unwana Udobang), une Nigériane installée au Burkina qui rentre au pays pour assister au mariage de sa sœur et, éventuellement, pour se réconcilier avec les siens. Il y a enfin Sali (Adizétou Sidi), une jeune étudiante de Bobo-Dioulasso chargée par son fiancé de porter une commission dans la capitale du Nigéria.

Plus que l'amitié, une même quête réunit les héroïnes : s'affranchir de la tutelle des hommes et s'affirmer en tant que personnes à part entière. Lire l'article complet sur Africine.

27 February 2017

Call for participation: Chouftouhonna, Tunis International Feminist Art Festival 2017 - Arabic - English - Français - Español - Português

Call for participation
Chouftouhonna, Tunis International Feminist Art Festival 2017

Tunis International Feminist Art Festival 3rd edition
Le festival international d’Art Féministe de Tunis
El Festival Internacional de Arte Feminista de Túnez
O Festival Internacional de Arte Feminista em Tunis

Call for participation | Appel à participation | 
Llamada a la participación | Chamada de Participação

(Arabic | English | Français | Español | Português)


We are pleased to announce the launch of the Open call for application for the third edition of CHOUFTOUHONNA, Tunis International Feminist Art Festival, which will be held on 07-08-09-10 September 2017.

Women and identifying as women artists and creators of all disciplines from all over the world are invited to submit their applications by 30 March 2017.

The success of the two previous editions confirmed the idea that an artistic space, exclusively dedicated to women is needed, not only in Tunisia but throughout the world.

In fact, the 75 participations in the first edition and the 130 in the second edition reveal a growing solidarity and interest around this project, and provide us the needed energy to carry on this very unique experience.

CHOUFTOUHONNA believes in an intersectional feminism and wants to be inclusive.

Thereby, the festival defends an art that emphasizes women’s visions and rights, but most of all has the ambition to give a space of expression to women, in their diversity.

Here is an overview of the second edition of CHOUFTOUHONNA: 

Individuals or groups may apply according to the following categories:

Fine arts:
This category includes painting, sculpture, ceramics,
To apply please follow this link:

Scenic arts:
This category includes dance, circus, theater, expression
Body, live performances, slam, poetry.
To apply please follow this link:

Graphic arts:
This category brings together the digital arts (drawing, comics,
Photomontage / collage....)
To apply please follow this link:

To apply please follow this link:

To apply please follow this link:

This category includes all categories (short and very short
Feature films, feature films, documentaries, animations...)
To apply please follow this link:

Long live art and feminism!


Nous sommes heureuses de vous annoncer le lancement de la troisième édition de CHOUFTOUHONNA, le festival international d’Art Féministe de Tunis, qui se tiendra les 07/08/09/10 Septembre 2017.

Nous lançons un appel à participation aux artistes et créatrices, femmes ou s’identifiant comme femmes de tous pays.

Le succès des deux précédentes éditions a confirmé l’idée qu’un espace artistique dédié aux femmes est nécessaire, non seulement en Tunisie mais dans le monde entier. En effet, les 75 participations à la première édition et les 130 à la deuxième révèlent une solidarité et un interêt croissants autour de ce projet, et nous donne l'énergie nécessaire pour continuer cette expérience unique en son genre. 
CHOUFTOUHONNA croit à un féminisme intersectionnel et se veut inclusif.

Partant de là, le festival défend un art qui met en avant les choix et les droits des femmes, mais avant tout a pour ambition de prétend donner un espace d’expression aux femmes, dans leur diversité.

Voici un aperçu de la seconde édition de CHOUFTOUHONNA:

Les personnes ou collectif de personnes intéressées peuvent postuler selon les catégories qui suivent :

Art plastique :
Cette catégorie englobe la peinture, la sculpture, la céramique, les
Pour postuler cliquez sur ce lien:

Art scénique :
Cette catégorie réunit la danse, le cirque, le théâtre, expression
corporelle, performances live, slam, poésie .
Pour postuler cliquez sur ce lien:

Art graphique :
Cette catégorie réunit les arts numériques fixes (dessin, bd,
Pour postuler cliquez sur ce lien:

Photographie :
Pour postuler cliquez sur ce lien:

Musique :
Pour postuler cliquez sur ce lien:

Cinéma :
Cette catégorie englobe toutes les catégories (courts et très courts
métrages, longs métrages, documentaires, animations…)
Pour postuler cliquez sur ce lien:

Vive l’art et le féminisme !


Nos complace enormemente anunciar el lanzamiento de la tercera edición de CHOUFTOUHONNA, el Festival Internacional de Arte Feminista de Túnez, que tendrá lugar los días 07/08/09/10 Septiembre 2017.

Hacemos una invitación a participar a mujeres artistas y creadoras, o que se identifican como mujeres, de todos los países.

El éxito de las dos precedentes ediciones nos ha confirmado la necesidad de un espacio artístico dedicado a las mujeres, no sólo en Túnez, sino en todo el mundo. De hecho, las 75 participantes de la primera edición y las 130 de la segunda revelan una inmensa fraternidad y un interés creciente en torno de este proyecto, y nos dan la energía para seguir con esta experiencia única en su género. CHOUFTOUHONNA cree en un feminismo interseccional y quiere ser inclusivo. A partir de ahí, el Festival defiende una arte que tiene su eje en la libertad de elección y en los derechos de las mujeres, pero quiere en primer lugar producir un espacio de expresión para las mujeres, en toda su diversidad. 

Aquí tenéis un video de la segunda edición de CHOUFTOUHONNA

Las personas y colectivos interesados pueden postular según las siguientes categorías:

Artes plásticas :
Esta categoría incluye pintura, escultura, cerámica,
Para aplicar, haga clic en este enlace:

Artes Escenicas:
Esta categoría reúne danza, el circo, el teatro, el habla
cuerpo, actuaciones en vivo, poesía slam.
Para aplicar, haga clic en este enlace:

Artes gráficas:
Esta categoría incluye las artes digitales fijas (dibujo, cómic,
fotomontaje / collage ....)
Para aplicar, haga clic en este enlace:

Para aplicar, haga clic en este enlace:

Para aplicar, haga clic en este enlace:

Esta categoría incluye todas las categorías (de corto y muy corto
películas, largometrajes, documentales, animaciones ...)
Para aplicar, haga clic en este enlace:

Viva el arte y el feminismo!


Estamos felizes em anunciar o lançamento da terceira edição do CHOUFTOUHONNA, o Festival Internacional de Arte Feminista em Tunis, a ser realizada em 07/08/09/10 setembro 2017.

Chamamos de participação, artistas e designers, mulheres, ou que se identificam como mulheres de todos os países.

O sucesso das duas edições anteriores confirmaram a ideia de que o espaço de arte dedicado às mulheres é necessário, não só na Tunísia, mas em todo o mundo.
De facto, as 75 entradas na primeira edição e 130 na segunda edição, demonstram solidariedade e interesse crescente neste projecto, e dá nos a energia para continuar esta experiência única de seu tipo.
Aqui está um resumo da segunda edição do CHOUFTOUHONNA:

Pessoas ou grupo de pessoas interessadas podem se inscrever nas seguintes categorias:

Artes plásticas:
Esta categoria inclui pintura, escultura, cerâmica, gravuras.
Para aplicar, clique neste link:

Artes cênica:
Esta categoria reúne dança, circo, teatro, expressão corporal, performances ao vivo, poesia Slam.
Para aplicar, clique neste link:

Artes gráficas:
Esta categoria inclui artes fixas digitais (desenho, quadrinhos, photomontage, colagem ...)
Para aplicar, clique neste link:

Para aplicar, clique neste link:

Para aplicar, clique neste link:

Esta categoria inclui todas as categorias (curtas-metragens e muito curtas e longas-metragens, documentários, animações ...)
Para aplicar, clique neste link:

Viva a arte e do feminismo!

26 February 2017

Luxor African Film Festival 2017: Women at the 6th Edition | Les femmes à la 6e édition

Luxor African Film Festival 2017:
Women at the 6th Edition | Les femmes à la 6e édition


Feature Fiction
Assita Ouédraogo

Long Documentary

Short Films

                                                                                   Freedom Films
                                                                                   Annette Kouamba Matondo




Luxor African Film Festival 2017 – Official Selection | Selection Officielle

Luxor African Film Festival 2017
16-22 March 2017

Official Selection | Selection Officielle

Feature Fiction
Assita Ouédraogo
Gabriel Khoury
Moussa Touré
Nacer Khemir
Ntshaveni Wa Luruli

Long Documentary
Hammadi Gueroum
Sameh Selim
Tsitsi Dangarembga
Hamid Benamra

                                                                    Short Films
                                                                      Ahmed Shawky
                                                                      Anis Lassoued
                                                                      Caroline Kamya
                                                                     Sani Elhadj Magori
                                                                     Mahmood Soliman

                                                                    Freedom Films
                                                                    Ahmed Fayek
                                                                  Annette Kouamba Matondo
                                                                    Hauvick Habéchian
                                                                    Mwezé Ngangura
                                                                   Youssef El-Kaid


Enkopa by/de Abraham Demissie 

Hayat by/de Raouf Sebbahi (Morocco | Maroc)

Hedi by/de Mohamed Ben Attia (Tunisia | Tunisie)

Her Broken Shadow by/de Dilman Dila (Uganda | Ouganda)

Kalushi by/de Mandlankayise Walter Dube (South Africa | Afrique du Sud)

Looking for Lost Power | À la recherche du pouvoir perdu by/de Mohamed Ahed Bensouda (Morocco | Maroc)

Naked Reality by/de Jean-Pierre Bekolo (Cameroon | Cameroun)

Our Preacher by/de Magdy Ahmed Aly (Egypt | Egypte)

Thala My Love | Thala mon amour by/de Mehdi Hmili (Tunisia | Tunisie)


Atlal by/de Djamel Kerkar (Algeria | Algérie)

Black Lives Matter by/de Joseph Oesi (South Africa | Afrique du Sud)

Little Eagles by/de Mohamed Rashad (Egypt | Egypte)

White Potion by/de Ashraf (Ash) Mswaki (Tanzania | Tanzanie)

Weldek Rajel | Your Son Is a Man | Ton fils est un homme by/de Heifel Ben Youssef (Tunisia | Tunisie)


Agora by/de Abdallah Yahya (Tunisia | Tunisie)

Bloody Throne by/de Khabane Moses Khongoan (Lesotho)

Honey and Old Cheese | Miel et vieux fromage by/de Yassine El-Idrissi (Morocco | Maroc)

Kaleidoscope by/de Martin Githinji (Kenya)

Kindil Al-Bahr by/de Damien Ounouri (Algeria | Algérie)

Last Tape by/de Hany Samy (Egypt | Egypte)

Long Live the Dead | Longue vie aux morts by/de Maminihaina Rakotonirina (Madagascar)

Marabout by/de Alassane Sy (Senegal)

My Window by/de Bahaa El-Gamal (Egypt | Egypte)

Nyerkuk by/de Mohamed Kordofani (Sudan)

Pater Noster by/de Barth Lambert Oubda (Burkina Faso)

The Builders by/de Naji Ismail (Egypt | Egypte)

The Secret of Happiness by/de Mutiganda Wa Nkunda (Rwanda)

Voyage of Kelthoum | Le voyage de Keltoum by/de Anis Djaad (Algeria | Algérie)

Walls | Les murs by/de Narcisse Wandji (Cameroon | Cameroun)

We Are Just Fine Like This | On est bien comme ça by/de Mehdi M. Barsaoui (Tunisia | Tunisie)

Z-Lan by/de Boris Oué (Côte d’Ivoire)


Mali Blues by/de Lutz Gregor (Germany | Allemagne)

Nasser's Republic by/de Michal Goldman (USA)

Tahqiq Fel Djenna by/de Merzak Allouache (Algeria | Algérie)

The Heirs of the Hill | Les héritiers de la colline by/de Ousmane Samassekou (Mali)

Those Who Jump by/de Moritz Siebert, Estephan Wagner, Abou Bakar Sidibé (Denmark)

ALSO SEE | A VOIR AUSSI : Women at the 6th Edition | Les femmes à la 6e édition

25 February 2017

Les Femmes d’Afrique aux César 2017 : Palmarès | Women of Africa at the César 2017 Awards

Les Femmes d’Afrique aux César : Palmarès  
Women of Africa at the César Awards

Best First film - Meilleur Premier film
Divines by/de Houda Benyamina

Best Supporting Actress - Meilleure Actrice dans un second rôle
Déborah Lukumuena (Divines)

Most Promising Actress - Espoir féminin
Oulaya Amamra (Divines)

Best Short film - Meilleur Film de court métrage (ex aequo)
Maman(s) by/de Maïmouna Doucouré et Vers la tendresse (Towards Tenderness) by/d’Alice Diop

In a suburb where trafficking and religion run side by side, Dounia is eager for power and success. Supported by Maimouna, her best friend, she decides to follow in the footsteps of Rebecca, a respected dealer. But when Dounia meets Djigui, a young sensuous dancer, her daily life is disrupted.

Dans une banlieue où se côtoient trafics et religion, Dounia a soif de pouvoir et de réussite. Soutenue par Maimouna, sa meilleure amie, elle décide de suivre les traces de Rebecca, une dealeuse respectée. Sa rencontre avec Djigui, un jeune danseur troublant de sensualité, va bouleverser sa vie.

Best First film - Meilleur Premier film 
Divines by/de Houda Benyamina

Best Supporting Actress - Meilleure Actrice dans un second rôle
Déborah Lukumuena (Divines)

Most Promising Actress - Espoir féminin
Oulaya Amamra (Divines)

Maman(s):  Maïmouna Doucouré et Vers la tendresse (Towards Tenderness): Alice Diop

Maman(s) by/de Maïmouna Doucouré

Eight-year-old Aida lives in an apartment in a suburb of Paris. The day her father returns from his trip to Senegal, their country of origin, the daily life of Aida and the whole family is totally disrupted: the father did not return alone, he was accompanied by a young Senegalese woman, Rama, who he presents as his second wife. Aida, sensitive to her mother’s suffering, decides to get rid of the newcomer.

Aida, huit ans, habite un appartement de banlieue parisienne. Le jour où son père rentre de son voyage au Sénégal, leur pays d'origine, le quotidien d'Aida et de toute la famille est complètement bouleversé : le père n'est pas revenu seul, il est accompagné d'une jeune sénégalaise, Rama, qu'il présente comme sa seconde femme. Aida, sensible au désarroi de sa mère, décide alors de se débarrasser de la nouvelle venue.

Vers la tendresse (Towards Tenderness) by/d’Alice Diop

Alice Diop:
"Towards tenderness - four young men speaking freely, locked in their sexual and romantic representations or on the verge of getting out of it."

"Au cours d'un atelier sur le thème de l'amour, j'ai rencontré quatre jeunes hommes tous originaires de Seine Saint-Denis. J'ai enregistré nos conversations. J'ai eu envie de faire de ces voix un film."

Women of African Descent Film Festival 2017: Call for Entries (USA)

Women of African Descent Film Festival 2017 Call for Entries (USA)

The 16th Annual Women of African Descent Film Festival presented by The Brooklyn Chapter of The Links, Inc. now opens its CALL FOR ENTRIES.

Please contact with questions regarding the festival.


To showcase films which are centered around the theme of Linkages: Women, Their Families, Neighborhoods, and the Global Community, and to support the artistic development of Women filmmakers of African Descent by providing a supportive exhibition platform, offering stipends to participants, and seeking industry opportunities that will help to expose the filmmakers’ works and further their careers.

The Women of African Descent Film Festival (WADFF) is celebrating its 16th Anniversary in 2017. The media constantly bombards us with negative images of people of African descent. Our positive accomplishments, uplifting experiences, and gifts to humanity get little attention. The Brooklyn Chapter believes it is vitally important that our legacy be maintained, nurtured and preserved and it is our responsibility to shape the public’s perception of who we are as a people. Through the medium of film, filmmakers of African descent document and relay the stories of our past, present, and future. They have become the new historians –“preservers of our legacy.” The Brooklyn Chapter realizes that many societal misconceptions start with how we are portrayed in the media. To counteract the adverse portrayal of African Americans in the movies and media, the Brooklyn Chapter, in 2002, initiated Linkages: Women of African Descent Film Festival. By choosing and screening films that depict the positive linkages that women of African descent have to their families, neighborhoods and communities, the film festival is able to effectively influence people’s’ perceptions through the medium of film.

All films must be produced, written or directed by a female filmmaker of African descent, must have been completed on or after 1 June 2012, and must be 1 hour at most in length. Submission deadline is Friday, 24 March 2017. Juror’s Choice Awards and stipends will be presented to the participating filmmakers.

Local, regional, national and international submissions are accepted.

Filmmakers are encouraged to submit a digital and/or online version of their films in a format such as AVI, FLV, WMV, MP4, MOV, QT, WMV, AVCHD, FLV, H.264, or DivX. If these file formats do not exist, please submit a link to your film on a site such as Vimeo, YouTube, Dailymotion, or MetaCafe. If applicable, include all passwords for video access.

DVD and VHS copies will not be accepted.

Please note: there is no submission fee. With your playable submission, please include a synopsis, crew list, press kit and any stills you would like to appear in the program and/or advertisements.

Send all films to:

THE EVENT WADFF 2017 will take place Saturday, 6 May 2017 at LIU Brooklyn (corner of Flatbush and Dekalb Avenues), Media Arts Department, Spike Lee Reading Room, 10am-6pm.

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