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


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31 August 2017

Fatma Zohra Zamoum : une campagne de collecte de fonds pour le film « RESET » | a crowdfunding campaign for the film "RESET"

Fatma Zohra Zamoum : une campagne de collecte de fonds pour le film « RESET » | a crowdfunding campaign for the film "RESET"

Fatma Zohra Zamoum launches a crowdfunding campaign on Ulele for the film “RESET”

To join the RESET Ulele campaign and to make a contribution:

RESET is a narrative feature-length film that relates the story of several characters during a single day, in a small city in Algeria (this story could happened in Tunisia, Morocco and other places around the world). Our characters meet in a wedding hall: the bride Kamila, the singer Sonia, a kitchen aid Salima, Youcef a childhood friend of Kamila, Kamel the husband of Sonia, and Khaled the groom, among other  characters. 
All goes as planned but as usual everyone is stressed. But Youcef, who sells mobile phone accessories and practices free running, decides to bring some challenges to all the attendies that day.

A tribute to women and young people who are trying to find a way between tradition and modernity.

Fatma Zohra Zamoum lance une campagne de collecte de fonds sur Ulele pour the film « RESET »

Pour rejoindre la compagne Ulele et la soutenir:

RESET un film de long-métrage de fiction qui raconte l’histoire de plusieurs personnages pendant une journée, dans une petite ville d’Algérie (cette histoire pourrait se passer au Maroc ou en Tunisie et dans plein d'autres endroits). Nos personnages se rencontrent tous dans une salle de mariage : la mariée Kamila, la chanteuse Sonia, l’aide de cuisine Salima, Youcef l’ami d’enfance de Kamila, Kamel le mari de Sonia, Khaled le nouveau marié et d’autres personnages encore. La fête de se passe bien (malgré le stress du jour) mais Youcef, vendeur d'accessoires de téléphone et free runner, décide, ce jour là, de bousculer tout le monde.

Un hommage aux femmes et aux jeunes qui naviguent entre tradition et modernité.

27 August 2017

Wild Track Newsletter #25 August 2017 about African women in cinema in Zimbabwe

Wild Track Newsletter #25 August 2017 about African women in cinema in Zimbabwe

The Wild Track Newsletter is published by the Institute of Creative Arts for Progress in Africa (ICAPA TRUST) 

The Wild Track Newsletter covers information, issues and events relevant and related to African women in cinema in general and specifically those from Zimbabwe, including coverage of the International Images Film Festival for Women (IIFF), the annual film festival which takes place in Zimbabwe. In addition, it covers gender related arts-based activities in the Zimbabwe area.

Back issues are also available on the ICAPA Trust site: Issue 24, Issue 23, Issue 22, Issue, 21, Issue 20, Issue 19, Issue 18, Issue 17, Issue 15, Issue 14, Issue 13, Issue 12, Issue 11, Issue 10, Issue 9, Issue 8, Issue 7.

21 August 2017



Seeking films in English and/or subtitled in English for a film series on Afro/Black Europe at Dartmouth College (USA) between March and May 2018.

Particularly interested in recent films that explore contemporary lived experiences in relation to antiracism and antisexism, belonging, gender, identity, LGBTQ, love, race, racial discrimination, racism, patriarchy, and sexism in European countries.

Also interested in historical films that contextualize those experiences. All categories—animation, documentary, feature, shorts, and web originals—will be considered.

Deadline: 30 November 2017

Submission Procedure:

Please email the filmmaker’s contact information, a brief description of the film, the release date, a trailer, and a password-protected link and password for the film to trica.d.keaton(at) in order to be previewed in advance.

Contact Dr. Trica Keaton before sending a DVD or other film formats.

Selection and notification will be made by early December 2017.

Trica Keaton, Ph.D.
Associate Professor
Dartmouth College
African and African American Studies


14 August 2017

L'Institut africain d'éducation cinématographique de Ouagadougou - INAFEC : The professionalization of Burkinabe women in cinema

L'Institut africain d'éducation cinématographique de Ouagadougou - INAFEC: The Professionalization of Burkinabé Women in Cinema

The training and formation experiences of African women have been fundamental to their cinematic identities, shaped by the pedagogical, methodological and theoretical practices of the myriad spaces that have contributed to their growth and development.

One notable institution was the Institut Africain d'Education Cinématographique (INAFEC), the historic film school at the Université de Ouagadougou located in Burkina Faso where some two hundred students throughout the continent were trained between 1976 and 1987. In our 1997 interview, veteran audiovisual practitioner and professional Aminata Ouedraogo, an alumna of INAFEC, described the versatility of the program and the broad scope of training that prepared the students for a range of careers in the audiovisual world: The core curriculum at INAFEC was multifaceted with a focus on areas such as radio, television, print journalism, scriptwriting, editing, and film production. The curriculum required that the students first learn scriptwriting and editing, and then work with an assistant director before learning to direct. After completing the core curriculum, there was the choice between two divisions, one for those who specialized in cinema; and the other for those specializing in communication. Along with Aminata Ouedraogo, many of these INAFEC cohorts makeup the first generation of Burkinabé women in cinema: Aminata Arby Boly, Valérie Kaboré, Marie Jeanne Kanyala, Suzanne Kourouma-Sanou, Adjaratou Lompo-Dadjoari, Fanta Régina Nacro, Téné Traoré.

Among these alumnae of INAFEC, a blurring of boundaries is observed: hence, a television journalist later produces a documentary or fiction film; a filmmaker subsequently follows a path in radio production or film criticism and print journalism. For instance, Aminata Ouedraogo produced several films and later settled in the area of film organization and administration, notably at the helm of the historic pan-African women’s organization, the Pan-African Union of Women in the Image Industry. Valérie Kaboré has made an important contribution in the area of audiovisual communication and building awareness regarding the significance of girls' education. In 2008, she received the Millennium Development Goal MDG3 Champion Torch for her successful television series “Ina” and her commitment to girls’ education. In addition to her work as director, she founded the media communications company, Média 2000 in 1991. Marie Jeanne Kanyala also a filmmaker, worked on the award-winning films of her compatriot Gaston Kaboré: Zan Boko and Buud Yam, as head film editor. Similarly, Téné Traoré holds a position as editor for the Radiodiffusion Télévision du Burkina. Suzanne Kourouma-Sanou has also worn multiple hats: script continuity on various film sets, as editor for the National television of Burkina, general treasurer of FEPACI, president of the JCFA (Journées Cinématographiques de la Femme Africaine d’image) and head of the film market, MICA. Fanta Regina Nacro, has been a role model both in her own country and beyond, taking on the myriad tasks of consultant and visual media advisor, and serving as chairwoman of the African Guild of Directors and Producers. She has gained international recognition with her acclaimed film Night of Truth (2004). Adjaratou Lompo-Dadjoari both a director and scriptwriter, has held senior positions at the National Television of Burkina. Her documentary film, “The Amazons of African Cinema” is a tribute to the valiant women who have contributed, over time and through their multifaceted activities, the advancement of African cinema, a fitting visualization of the important contributions that African women have made to the advancement and development of cinema, in Africa and the world as a whole.

Report by Beti Ellerson

02 August 2017

1o Encontro Nacional Empoderadas : Mulheres Negras no Audiovisual 2017 (São Paulo)

1o Encontro Nacional Empoderadas : Mulheres Negras no Audiovisual 2017 (São Paulo)
de 01 a 05 de agosto, 2017, Campos Elíseos, São Paulo

A Mulher Negra e produção audiovisual brasileira: da desconstrução das velhas a construção das novas narrativas
Carol Rodrigues, Cintia Maria, Danddara, Jéssica Queiroz, Keila Serruya

A experiência coletiva na produção audiovisual
Iliriana Rodrigues, Elisa Menezes, Renata Martins, Thamires Vieira

Empoderamento técnico e estético:
Onde estão as técnicas negras no audiovisual?
Andressa Clain, Francine Barbosa, Janaína Nascimento, Kelly Castilho, Nuna

Captação de Recurso: onde esta o dinheiro para as produções negras no audiovisual? 
Carolina Costa, Erica de Freitas, Fernanda Lomba, Viviane Ferreira

Atrizes negras: a representação da mulher negra no audiovisual
Naruna Costa, Kika Sena, Mawusi Tulani, Teca Pereira

Master Class
Janaína Oliveira, Adélia Sampaio, Lilian Solá Santiago, Cristina Amaral

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