Lucy Gebre-Egziabher: Films Without Walls, Call for Collaboration

Films Without Walls

Call for Collaboration

Professor and Filmmaker Lucy Gebre-Egziabher had this to say about "Films Without Walls", a project that she initiated where she teaches filmmaking on the NOVA Alexandria campus in Virginia, USA :

In 2016, NOVA film students were linked up with film students in Ethiopia and together they made a film called Final Exam. This experience was beneficial to students on both sides as they got to learn about each other and their respective realities through this collaboration and shared their love of filmmaking.

The success of that project lead to the creation of "Films Without Walls".

See the video of the student projects on the NOVA Student Film Festival YouTube Channel after the Press Release.

PRESS RELEASE

FCI film students joining forces with film students from institutions

in various parts of the world on this year’s theme:

CLIMATE CHANGE

For our 2017-2018 film production, NOVA Alexandria campus [Virginia, USA] students are joining forces with film students from institutions overseas to make films that address the theme of climate change. Each group, will reflect how climate change has affected them in their respective countries.

We are still looking for more partners from colleges and universities and/or private schools from various regions of the world to be part of this collaborative filmic statement on our environment.

The guidelines are as follows:

- Theme: Climate Change
- Main Character: has to be a student
- Story Location has to take place on a College Campus
- Film genres limited to: Drama or Comedy
- TRT (film length): 15 minutes maximum

The films will be screened at the 2018 NOVA Student Film Festival on April 26, 2018.

Please help spread the word about this international collaboration. The films must reflect the reality of how climate change is affecting that particular country. It could be directly addressed or indirectly. Be creative! Join us in this collaborative international filmic experience. If you or someone you know would like to be part of this collaboration, please contact Prof. Lucy Gebre-Egziabher, Associate Professor of Cinema, NOVA Alexandria Campus – lgebre@nvcc.edu or at 001+703-845-6297.

A collaborative film project

by NOVA Alexandria film students & film students from Ethiopia, 2016

LINK:

Also see Lucy Gebre-Egziabher: A Woman on A Mission

African Women in Cinema Blog: Updates | Actualités - 20.10.2017 - News around the Internet | Les infos autour de l’Internet

African Women in Cinema Blog

Updates | Actualités

20 – 10 – 2017

News around the Internet

Les infos autour de l’Internet

Content | Contenu

Tope Oshin

Lupita Nyong’o

Kaouther Ben Hania

Rungano Nyoni

Femmes en audiovisual (CNA)

Arts Femmes Bamako

Aïssa Maïga

Tope Oshin

Tedx Mende Women 03 November 2017. Lagos, Nigeria. Tedxmendewomen.

Lupita Nyong’o

Lupita Nyong’o: Speaking Out About Harvey Weinstein. 19 October 2017. Nytimes.com.

Kaouther Ben Hania

La Belle et la meute (Aala kaf ifrit), de Kaouther Ben Hania. Eloge de la détermination. Olivier Barlet. 11 octobre 2017. Africultures.com.

Rungano Nyoni

Rungano Nyoni - Director. Rungano Nyoni about her feature debut, I Am Not a Witch, by Kaleem Aftab. 13 October 2017. Cineuropa.org.

L'atelier de formation des femmes en audiovisuel

Le CNA a ouvert l'atelier de formation des femmes en audiovisuel à Yagoua, Cameroun. 8 octobre 2017. Afriquepremiere. 

Arts Femmes Bamako

Festival International « ARTS FEMMES 2018 – Appel à candidature. Facebook rdvcheznous 

Aïssa Maïga

Aïssa Maïga et Sébastien Onomo présidents du groupe francophone d'UniFrance. 05 oct 2017. UniFrance.

Angela Aquereburu : Producing realistic, original, universal African stories | Produire des histories africaines authentiques, originales, universelles

Image: YouTube - Africa Salons

Angela Aquereburu : Producing realistic, original, universal African stories | Produire des histories africaines authentiques, originales, universelles 

English [Français ci-après]

Angela Aquereburu and her partner Jean-Luc Rabatel, who are based in Lomé, Togo, wear many hats: scriptwriting, directing, producing, distributing… They founded the audio-visual production company, Yobo Studios (originally Caring International) in 2009, which specialises in fiction with a focus on short-format mini-series. It was Angela’s father, an older-timer of Togolese television, who suggested to the couple to bring their content to the local scene, in order to give a much-needed change from the telenovelas and American sitcoms that inundated the Togolese channels. Moreover, she stresses the importance of audiovisual programming as a vital tool to transmit strong messages regarding health, ecology and democracy to the general public. 

As an objective of Yobo Studios is to provide original and exportable programmes and bring a different perspective regarding Africa, Angela and Jean-Luc have worked with DISCOP Africa, whose platform has become an integral part of Yobo Studios’ goals. As its website indicates, “DISCOP markets help entertainment content producers, sellers and buyers connect, build relationships, pitch projects and make deals in Africa and the Middle East.” In an interview with Africa Salons at the closing of DISCOP Abidjan 2016, Angela recalls that around ten years ago the audio-visual sector in African was hard hit and to have content visibility was difficult. She notes for instance, that because of the high cost of transportation, to meet people from South Africa, Cameroon and elsewhere was a bit difficult. Hence, with DISCOP there was an opportunity to bring together professionals—audio-visual producer, cable operator, television distributor—to network throughout Africa.

Yobo Studios’ early success, the fiction mini-series Zem, has led to others, notably, the recently produced Hospital IT, a medical dramedy produced in 2017. There are several projects on the horizon: a television programme devoted to women, a feature film with a woman protagonist, an English-language film, among others.

In addition to an interest in producing realistic stories about everyday African experiences to present to the African public, Angela wants also to distribute her films more broadly in order to make them visible on the international scene. She explains in ForbesAfrica: "To make content exportable, you need a universal story, good actors, beautiful images, good music and to respect international broadcast codes.”

English text is drawn from French-language sources below.

Français : Cet article s’est appuyé sur les sources suivants :

Interview Angela Aquereburu (Yobo Studios) lors du salon Discop - par Africa Salons

Togo - Yobo Studios: fournir des programmes originaux et exportables – appel à partenaires. Balancing-act

TV : ‘Hospital IT’, série hospitalière en Afrique (par Côte Ouest) Production Audiovisuel. Balancing-act

Portrait: Angela Aquereburu, producer of successive series. ForbesAfrique

Angela Aquereburu : Portrait d’une productrice de séries émergente

Interview Angela Aquereburu (Yobo Studios) lors du salon Discop - par Africa Salons

LINKS | LIENS

A Conversation with Angéla Aquereburu

La Parole à Angéla Aquereburu

African Women in Cinema Blog: Updates | Actualités - 13.10.2017 - News around the Internet | Les infos autour de l’Internet

African Women in Cinema Blog

Updates | Actualités

13 – 10 – 2017

News around the Internet |

Les infos autour de l’Internet

Content | Contenu :

Naky Sy Savané

Adélaïde Tata Ouattara

Theresa Traoré Dahlberg

Naky Sy Savané

Naky Sy Savané, la féministe du cinéma ivoirien. Cinelife.

Adélaïde Tata Ouattara

Adélaïde Tata Ouattara : « Accompagner les films en free lance ». Par Claude Forest. 25 septembre 2017. Africultures.

Theresa Traoré Dahlberg

Ouaga Girls, de Theresa Traoré Dahlberg, Figures de résilience. Par Olivier Barlet. 2 October 2017. Africultures.

Aïcha Macky : Education shapes futures | L’éducation façonne l’avenir

Aïcha Macky  : Education shapes futures | L’éducation façonne l’avenir 

Published | Publié 29 September | septembre 2017 in/dans

Global Partnership for Education | Partenariat mondial pour l’éducation

IMAGE CREDIT: https://twitter.com/CatalayaMacky

Aïcha Macky, a sociologist and documentary film maker from Niger, can't imagine her life without an education.

Aïcha Macky, sociologue et documentariste nigérienne, ne peut imaginer sa vie sans l'éducation.

Read the text in its entirety : Education shapes futures – Aicha’s story

http://www.globalpartnership.org/blog/education-shapes-futures-aichas-story

Lire l'article complet : L’éducation façonne l’avenir – l’histoire d’Aicha

http://www.globalpartnership.org/fr/blog/leducation-faconne-lavenir-lhistoire-daicha

Call for Entries | Appel à films 2018 - Women's History Month Film Festival Women in Media-Newark (USA)

Call for Entries | Appel à films 2018 

Women's History Month Film Festival Women in Media-Newark (USA) 

PRESS RELEASE | COMMUNIQUÉ DE PRESSE

Call For Entries is now launched!

Appel à films est ouvert

“Passages: Women in Transition,” the theme of our 2018 Women’s History Month Film Festival focuses on transitions experienced by women throughout the world. We are especially interested in stories that explore women’s issues relating to migration/immigration, and myriad life changes faced by women.

« Passages : les femmes en transition », le thème du Festival du film « Mois de l'histoire de la femme » 2018 se concentre sur les transitions vécues par les femmes à travers le monde. Women in Media-Newark est particulièrement intéressé par les histoires qui explorent les problèmes concernant des femmes relatifs à la migration/l'immigration et la myriade de changements de la vie à laquelle les femmes sont confrontées.

Click Here for 2018  Online Call For Entries | Cliquez ici pour accéder au formulaire

Click Here for Film Submission Rules  | Cliquez ici pour accéder aux regles de soumission 

Each film or video submission must be entered via our Online Call for Entries (see above) with a link to the film included in the entry form. Foreign language work must be dubbed or subtitled in English. The entry form must be completed in full, and payment must be made either via PayPal on this site. You may also enter online via FilmFreeway or Without A Box.

Chaque film ou vidéo doit être soumis via « l’appel à films en ligne » Online Call for Entries (voir ci-dessus) avec un lien vers le film inclus dans le formulaire d'inscription. Les films en langue étrangère doivent être doublé ou sous-titré en anglais. Le formulaire d'inscription doit être dûment rempli et le paiement doit être effectué via « PayPal » sur ce site. Vous pouvez également entrer en ligne via « FilmFreeway » ou « Without A Box »--soumission de film en ligne.

All submitted films must tie into our theme of “Passages: Women in Transition,” be about women, and should be directed or co-directed by a woman. Please do not send press kits or any other print materials until they are requested by the festival staff.

This year we will only accept digital submissions, and upon acceptance into the festival will require you to send to us two flashdrives with a copy of the film on each.

Tous les films soumis doivent être liés au thème de « Passages: les femmes en transition », doivent être au sujet de la femme, et devraient être réaliser ou coréaliser par une femme. Veuillez ne pas envoyer de dossiers de presse ou d'autres documents imprimés avant qu'ils ne soient demandés par le comité du festival.

Cette année, Women in Media-Newark n'accepte que les soumissions numériques. Si votre film est sélectionné, vous devrez nous fournir deux clés USB avec une copie du film sur chacun d'eux.

For concerns/questions | Pour tout renseignement supplémentaire: info@wim-n.com

Call for entries for NFVF (National Film and Video Foundation) Female Filmmaker Project 2017/18: Becoming (South Africa)

Call for entries

NFVF Female Filmmaker Project 2017/18: Becoming

Source: http://nfvf.co.za/home/index.php?ipkMenuID&ipkArticleID=541

CLOSING DATE: 14 October 2017

BACKGROUND

The concept for the Female Only Filmmaker Project is to provide ten females, particularly those from historically disadvantaged backgrounds, with an opportunity to make a film in collaboration with other women. Successful writer-directors will be guided in the development and production of their stories into 24 minute scripts over a period of 8 months.

The filmmakers will be guided through the process by the team at Zinc Pictures, helmed by Tshego Molete who will, in collaboration with the National Film and Video Foundation, select 10 filmmakers to go through the process with the aim of nurturing the successful filmmakers to creating a calling card that will help them in their efforts to break into the competitive film industry.

WORKSHOPPING

Scripts will be workshopped for camera in preparation for the production of the films over a dedicated development period, followed by practical workshopping with a director and key technical crews, with the aim of the films being completed by May 2018. During this process each director will be provided with the necessary tools to break down scripts for camera as well as detailed strategies for extracting the best performances from the actors.

The successful projects and teams will be provided with a professional production crew to shoot their film. A post-production supervisor will be appointed to assist them in the editing and final delivery of the film.

THEME

BECOMING is transformation, change, a break down and growth. It is becoming different from or perhaps more of yourself. It can speak of a moment that changes your life forever, or a slow movement towards more of the same. It speaks of endings and beginnings, revolutions and evolutions, losses and gains, and sometimes, all or one of these through life or death.

We are bringing together a series of short films that explore the notion of ‘BECOMING’. We are interested in stories that explore change, alienation and belonging, growth or degeneration, life and death, in whatever way you choose. These are stories that each reveal something about the contradictions, incompleteness, imperfection, beauty and constant promise of becoming in the lives of, or touched by women in past, present and future South Africa.

The NFVF in association with Zinc Pictures has chosen this as the theme for the films to be produced. The films will be packaged and screened for television audiences, as well as entered into international film festivals.

Applicants are asked to submit scripts pertaining to the theme. At a time in history when change seems to happen in quick and unpredictable ways, when the experiences of women are characterized by tumultuous and sometimes terrific transformations, how do we take charge of our own becoming? How do we balance becoming with belonging? And how do we answer questions of identity when we exist at the intersection of so many forces?

ELIGIBILITY

In order for a filmmaker to be considered for this opportunity, the applicant must meet the following requirements:

1. Have worked in the industry for at least two years.

2. Be a historically disadvantaged Individual as defined in the constitution of South Africa.

3. Be able to set aside the requisite time over a period of 8 months to complete the programme.

NB: This program is aimed at female filmmakers only and only fictional narratives will be accepted.

SELECTION CRITERIA

Eligible candidates for the project must:

- Have a strong written concept for a 24-minute stand alone film with a clearly thought out premise or controlling idea that would allow it to be packaged with other projects under the theme of “Becoming”.

- Preference will be given to marginalized indigenous language proposals.

- Demonstrate familiarity with the tools of scriptwriting including taking feedback.

- Be willing to meet the demands of the film industry and be present at every training and workshop.

- Demonstrate a willingness and ability to work as a part of a team in the pursuit of the same objective.

- Understand the value of and is able to work under pressure and tight schedules.

- Have a portfolio of work to show their capability eg. a showreel or, in the case of writers – a script, that demonstrates their creative abilities. Preference will be given to applicants who are willing to work as writer/director on their project.

NB: Writers will be expected to pitch at production stage to assess capability to direct their films. If a writer is not able to show directorial ability, a director may be assigned to their script.

APPLICATIONS

All applications should be able to provide the following documentation in for consideration:

1. Narrative treatment and/or script for 24-minute film including character bible, detailed synopsis, major turning point document.

2. Cover letter containing the following:

a. Who you are and why you are passionate abut filmmaking

b. Provide 3 images, one taken by yourself, and provide a short reflection on the imagery (no more than 100 words).

CV and certified copy of ID document (no older than 3 months).

1. Showreel/portfolio of work

2. Valid Tax Clearance Certificate

All entries to be sent to womensproject@zincpictures.com

Please make sure that all required documents are attached as any missing documents will lead to automatic disqualification.

Report | Compte-rendu: Festival International du Film de Femmes de Salé | International Women’s Film Festival of Salé - Edition 11, 2017 - Maroc | Morocco

Report | Compte-rendu

Festival International du Film

de Femmes de Salé

International Women’s

Film Festival of Salé

Edition 11, 2017

http://www.fiffs.ma

ENGLISH (FRANÇAIS ÇI-APRÈS)

The Festival International du Film de Femmes de Salé 2017 was held from 25-30 September in Salé, the sister city of the Moroccan capital Rabat. Turkey was the guest country of the 2017 edition.

The purpose of the International Women’s Film Festival of Salé (FIFFS) is to feature women’s artistic cinematographic contributions. Furthermore, to give women, and women of the moving image in front of, on and behind the camera, the recognition that they deserve (Source: FIFFS website).

The success of the 11^th edition of FIFFS was visible throughout the weeklong activities, evident by the full attendance, dynamic forums, master classes, dialogues with the filmmakers, the energetic exchanges among the invited filmmakers, actresses and scholars and film professionals and above all the enthusiasm of the public, both women and men.

The festival opened on the evening of Monday, 25 September, with warm welcomes from Salé officials, followed by a posthumous homage to Feu Abdellah Bayahia, a Moroccan cineaste from Salé, and tributes to actresses Rogina of Egypt and Defne Halman of Turkey.The evening continued with the presentation of the three juries: Long fiction - president, Dominique Cabrera, members, Saadia Ladib, Marie-Eve Musy, Sophie Goyette, Kamla Abuzekri, Souad Houssein, Pilar Carrasco Aguilar; Documentary - president, Fatoumata Bintou Kandé, members, Fatima Ifriqui, Rahma El Madani; Jury Jeune Public - Lina Arious, Siham El Alaou, Meryem Benheddi. The opening evening finished with screenings of Moroccan short films: Riad de mes rêves by Zineb Tamourt, Assia by Malika Zaira; Adam 99% d’amour by Narjis Tahiri,  Amal by Aicha Senna, Badad by Nadia Ghalia and No by Dimna Bounaylat.

Throughout the week, parallel to the evening film screenings, a variety of cinema-related activities were held during the morning and afternoon, including a Q&A with the filmmakers whose works were in competition and screened the evening before.

The official selection of films included: Quit staring at my plate by Hana Jušić (Croatia), Ava by Léa Mysius (France), Summer 1993 by Carla Simon (Spain), La fiancée du désert by Cecilia Atàn & Valeria Pivato (Argentina), Le clair obscur by Khaoula Assebab Benomar (Morocco), Little wing by Selma Vilhunen (Finland), Marlina the Murderer in Four Acts by Muly Surya (Indonésia), Oh Lucy ! by Atsuko Hirayanagi (Japon), Son of Sofia by Elina Psykou (Greece), Withered Green | Akhdar Yabis by Mohammed Hammad (Egypt), Zín’naariyâ by Rahmatou Keïta (Niger), Western by Valeska Grisebach (Germany), Jerico, the Infinite Flight of Days | El Infinito Vuelo de Los Dias by Catalina Mesa (Colombia), Girls don’t fly by Monika Grassl (Germany), Shakespeare à Casablanca by Sonia Terrab (Morocco), Sisters Courage by Latifa Doghri & Salem Trabelsi (Tunisia), Une autre montagne (Another mountain) by Noémie Aubry & Anouck Mangeat (France), Araf, Somewhere in between by Yeşim Ustaoğlu (Turkey), Watchtower by Pelin Esmer (Turkey), Lifelong – Hayatboyu by Asli Özge (Turkey), Pandora’s Box by Yeşim Ustaoğlu (Turkey).

On Tuesday, 26 September, scholar Beti Ellerson gave a presentation with a Q&A of her research on African women in cinema. Later in the morning a press conference included discussions with honorees Rogina and Defne Halman. The titles of the forums were as follows: Wednesday, 27 September, “The film industry: from the commodification of women to gender parity”; Thursday, 28 September, “Production: problem and hazards, a comparative approach of Moroccan and Turkish experiences”, and Friday, 29 September, “Discourse on the body in cinema: voices of women”. The Friday morning activities concluded with a film student awards ceremony. Also on Thursday afternoon, filmmaker Simone Bitton conducted a master class moderated by Réda Benjelloun. In addition, on the morning of Saturday, 30 September, Simone Bitton also participated in a filmmakers’ intersecting dialogue with Hicham Lasri.

The festival closed with the presentation of awards, the screening of the award-winning film and a gala dinner reception. The laureates for the feature fiction and documentary films are as follows.

Best Male Actor Award: Meinhard Neumann in Western by Valeska Grisebach (Germany)

Best Female Actor Award: Paulina García in La fiancée du désert by Cecilia Atàn and Valeria Pivato (Argentina, Chili)
A Coup de Cœur (Best Picks) mention to Linnea Skog in Little Wing by Selma Vilhunen (Finland)

Best Scenario Awrd : Rama Adi, Garin Nugroho, Mouly Surya for Marlina, the Murderer in Four Acts by Mouly Surya (Indonesia)

Jury Prize : Ava by Léa Mysius (France)

Grand Prix for Documentary: Girls Don’t Fly de Monika Grassl (Allemagne, Autriche) 

Grand Prix for Feature Film: Summer 93 by Carla Simon (Spain)
Special Mention to Another Mountain by Noémi Aubry and Anouck Mangeat (France)

Report by Beti Ellerson

FRANÇAIS

Le Festival International du Film de Femmes de Salé 2017 a eu lieu du 25 au 30 septembre à Salé, la ville sœur de la capitale marocaine Rabat. La Turquie était le pays invité de l'édition 2017.

Le Festival International du Film de Femmes de Salé (FIFFS) a pour finalité de mettre en exergue tout apport artistique cinématographique à même de donner à la femme et de la femme l’image qu’elle mérite devant, sur et derrière l’écran (Source : FIFFS.ma).

Le succès de la 11ème édition du FIFFS a été visible tout au long des activités de la semaine du festival, mis en évidence par les salles combles, les forums animés, les master classes, les dialogues avec les cinéastes, les échanges dynamiques entre les cinéastes, les comédiennes et les chercheuses invitées et les professionnels du cinéma, et surtout l'enthousiasme du public, féminin et masculin.

L'ouverture du festival a commencé lundi soir, le 25 septembre, avec les chaleureux accueils des responsables du Festival et la ville de Salé, suivi d'un hommage posthume à Feu Abdellah Bayahia, un cinéaste marocain de Salé, et puis un hommage aux comédiennes Rogina de l’Egypte et Defne Halman de la Turquie. Après les hommages, les trois jurys ont été présentés: Long métrage - présidente, Dominique Cabrera, membres , Saadia Ladib, Marie-Eve Musy, Sophie Goyette, Kamla Abuzekri, Souad Houssein, Pilar Carrasco Aguilar; Documentaire - présidente, Fatoumata Bintou Kandé, membres, Fatima Ifriqui, Rahma El Madani; Jury Jeune Public - Lina Arious, Siham El Alaou, Meryem Benheddi. La soirée d'ouverture s’est terminée avec des projections de courts métrages marocains: Riad de mes rêves de Zineb Tamourt, Assia de Malika Zaira; Adam 99% d'amour de Narjis Tahiri, Amal de Aicha Senna, Badad de Nadia Ghalia et No de Dimna Bounaylat.

Au cours de la semaine, parallèlement aux projections de films chaque soir, diverses activités liées au cinéma ont eu lieu pendant la matinée et l'après-midi, y compris un débat avec les cinéastes dont les œuvres étaient en compétition et avaient été projetées la veille.

Les longs métrages et documentaires sont les suivants : Quit staring at my plate | Ne gledaj mi u pijat de Hana Jušić (Croatie), Ava de Léa Mysius (France), Été 1993 de Carla Simon (Espagne), La fiancée du désert de Cecilia Atàn et Valeria Pivato (Argentine), Le clair obscur de Khaoula Assebab Benomar (Maroc), Petite Aile de Selma Vilhunen (Finlande), Marlina la tueuse en 4 actes de Muly Surya (Indonésie), Oh Lucy! d’Atsuko Hirayanagi (Japon), Fils de Sofia de Elina Psykou (Grèce), Withered Green | Akhdar Yabis de Mohammed Hammad (Egypte), Zín'naariyâ de Rahmatou Keïta (Niger), Western de Valeska Grisebach (Allemagne), Jericó, le vol infini des jours de Catalina Mesa (Colombie), Les filles ne s’envolent pas de Monika Grassl (Allemagne), Shakespeare à Casablanca de Sonia Terrab (Maroc), Sœurs Courage de Latifa Doghri et Salem Trabelsi (Tunisie), Une autre montagne de Noémie Aubry et Anouck Mangeat (France), Araf, quelque part entre deux de Yeşim Ustaoğlu (Turquie), La tour de quet de Pelin Esmer (Turquie), La révélation d’Alza de Asli Özge (Turquie), La Boîte de Pandore de Yeşim Ustaoğlu (Turquie).

Le mardi 26 septembre, la chercheuse Beti Ellerson a fait une présentation avec un débat sur ses recherches sur les femmes africaines dans le cinéma. Plus tard dans la matinée, une conférence de presse comprenait des discussions avec les hommagées, Rogina et puis Defne Halman. Les titres des forums étaient les suivants: mercredi 27 septembre, « L'industrie cinématographique: de la chosification de la femme à la parité »; jeudi 28 septembre, « La production: problème et aléas, approche comparative des expériences marocaine et turque », et vendredi 29 septembre, "Discours du corps au cinéma: paroles aux femmes". Les activités du vendredi matin se sont terminées par une cérémonie de remise des prix aux élèves de cinéma. Dans l’après-midi du jeudi, la réalisatrice Simone Bitton a présenté une Master Class animée par Réda Benjelloun. En outre, dans la matinée du samedi 30 septembre, Simone Bitton a également participé à un dialogue de cinéastes, un regard croisé avec Hicham Lasri.

Le festival s’est clôturé avec la présentation des prix, la projection du film primé et un dîner de gala. Les lauréat.e.s sont les suivants:

Prix d’interprétation masculine : Meinhard Neumann dans Western de Valeska Grisebach (Allemagne)

Prix d’interprétation féminine : Paulina García dans La fiancée du désert de Cecilia Atàn et Valeria Pivato (Argentine)
Une Mention Coup de Cœur à Linnea Skog dans Petite Aile de Selma Vilhunen (Finlande)

Prix du scenario : Rama Adi, Garin Nugroho, Mouly Surya pour Marlina, la tueuse en 4 actes de Mouly Surya (Indonésie)

Prix du jury : Ava de Léa Mysius (France)

Grand prix documentaire : Les filles ne s’envolent pas de de Monika Grassl (Allemagne, Autriche) 

Grand prix fiction longue métrage : Eté 93 de Carla Simon (Espagne)
Une Mention spéciale à Une autre montagne de Noémi Aubry et Anouck Mangeat (France) 

Compte rendu par Beti Ellerson

African Diasporas. Josza Anjembe : Le Bleu Blanc Rouge de mes cheveux | French - César 2018 Séléction officielle court métrage | Official Selection Short Film (France)

Le Bleu Blanc Rouge de mes cheveux | French

 de/by Josza Anjembe 

Séléction officielle court métrage

Official Selection Short Film

César 2018

Synopsis

[English]

Seyna, a seventeen-year-old Cameroonian adolescent, is passionate about the history of France, the country where she was born and which she loves very much. Having obtained her baccalaureate and approaching adulthood, Seyna has only one desire, to acquire French nationality. But her father Amidou is fiercely opposed to it.

[Français]

À dix-sept ans, Seyna, une adolescente camerounaise se passionne pour l'histoire de la France, le pays qui l'a vue naître et dont elle est profondément amoureuse. Son baccalauréat en poche et sa majorité approchant, Seyna n'aspire qu'à une chose : acquérir la nationalité française. Mais son père Amidou s'y oppose farouchement.

Les 24 films de la Sélection Officielle Court Métrage César 2018:

1992 de/by Anthony Doncque
A Brief History of Princess X de/by Gabriel Abrantes
Blind Sex de/by Sarah Santamaria-Mertens
Debout Kinshasa ! de/by Sébastien Maitre
Et toujours nous marcherons de/by Jonathan Millet
Féfé Limbé de/by Julien Silloray
Goliath de/by Loïc Barché
Goût Bacon de/by Emma Benestan
Guillaume à la dérive de/by Sylvain Dieuaide
Je les aime tous de/by Guillaume Kozakiewiez
La convention de genève de/by Benoît Martin
La laine sur le dos de/by Lotfi Achour
e bleu blanc rouge de mes cheveux de/by Josza Anjembre
Le film de l’été de/by Emmanuel Marre
Le silence de/by Ali Asgari et Farnoosh Samadi
Les bigorneaux de/by Alice Vial
Les enfants partent à l’aube de/by Manon Coubia 
Les misérables de/by Ladj Ly
Mare nostrum de/by Rana Kazkaz et Anas Khalaf
Marlon de/by Jessica Palud
Noyade interdite de/by Mélanie Laleu
Panthéon discount de/by Stéphan Castang
Pas comme des loup de/by Vincent Pouplard
Tangente de/by Julie Jouve et Rida Belghiat