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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31 October 2018

Ndiva Women’s Film Festival 2018: “Living Legends”, Akosua-Asamoabea Ampofo, USA

Ndiva Women’s Film Festival 

Living Legends, 2018
Akosua-Asamoabea Ampofo

Akosua Asamoabea Ampofo is a film student at Bryn Mawr College and also a client at Blue Sage. On April 21, 2018, she filmed a project at Blue Sage called "Living Legends".

This is how Akosua describes it: "This film project seeks to follow the journey of hip-hop as a means to express some of the sentiments and social influences of rap and hip hop and how it has been and continues to be used as a mouthpiece to tell the stories of young black people (in particular), by following a Philadelphia based rap group called Hardwork Movement. Hardwork Movement is a group that “is inclusive, original, and inspires all listeners to strive towards uniqueness in all that they do”. In order to see how these themes in rap have been communicated to people, this film will also talk to people in the Philadelphia area, discussing the legacy of hip hop and what it means to them as individuals and as members of the greater American community."

Ndiva Women’s Film Festival 2018: “Instincts”, Cecilia Oppong-Badu, Ghana

Ndiva Women’s Film Festival 

Cecilia Oppong-Badu

Akosua Prempeh is awakened to the realization that in spite of her success in business, her family will consider her an unworthy woman if she does not get married. Akosua is in a dilemma of choosing Owen, her expatriate partner who seems the most eligible bachelor or Kwame, her supplier of artifacts who appears abrasive and coarse in mannerisms.

Cecilia Oppong-Badu carries out the duties of the chief justice on the NAFTI (National Film and Television Institute) Student’s representative council.

Ndiva Women’s Film Festival 2018: “Red”, Comfort Arthur, Ghana

Ndiva Women’s Film Festival 

Red, 2018
Comfort Arthur

Red is a semi-biographical short film about the filmmaker’s childhood memories of her father.

Comfort Arthur is a British Ghanaian Animator, Illustrator, Editor, Writer and Actress. Winner of Best Animation at the GMA 2016 and AMAA nominee 2016. (Text from Facebook Page)

Ndiva Women’s Film Festival 2018: “The African Who Wanted to Fly”, Samantha Biffot, Gabon

Ndiva Women’s Film Festival 

The African Who Wanted to Fly
Samantha Biffot

The African Who Wanted to Fly tells the incredible true story of Luc Bendza, a young Gabonese boy who discovers Kung Fu after watching the film The Big Boss and deciding he wants to “fly” like Bruce Lee and devote his life to the martial arts. At the age of 15, he sets off for China to make his dreams come true. He joins the prestigious wushu martial arts academy, and under the tutelage of Grand Master Meng Huifang, Luc eventually becomes number one in an art form that had previously never counted an African in its midst.

In 2010 Samantha Biffot cofounded Princesse M Productions. She wrote and directed the series "L'oeil de la Cité", which was awarded the best TV series prize at Fespaco in 2013. In addition, she co-wrote and directed the adaptation of the successful Gabonese TV show "Parents Mode d'Emploi".

Ndiva Women’s Film Festival 2018: “Xoese”, Gloria Eva Adotevi, Ghana

Ndiva Women’s Film Festival 

Gloria Eva Adotevi

An ex-convict is out of prison with high hopes of starting life afresh but a is met with hostility from her family and community.

Gloria Eva Adotevi is a freelance filmmaker as well as office manager for the Ndiva Women’s Film Festival.

Ndiva Women’s Film Festival 2018: “Mira”, Najaat Hussein, Ghana

Ndiva Women’s Film Festival 

Mira, 2018
Najaat Hussein

A girl forced out of her dreams due to a superior command.


Najaat Hussein is a film-directing student of National Film and Television Institute (NAFTI), she participated in FACE OF NAFTI beauty pageant and film contest organised by NAFTI's Student Representative Council abbreviated NSRC. NSRC trained Najaat and gave her all the needed support to shoot her own film just as it did to all nine contestants. Najaat won the film-making contest and beauty pageant with her film; MIRA. (Source:

Image: Compiled from screenshots of film

Ndiva Women’s Film Festival 2018: “Waithira”, Eva Munyiri, Kenya

Ndiva Women’s Film Festival 

Waithira, 2017
Eva Munyiri

Eva Njoki Munyiri left her birth country, Kenya, aged 14 and has lived in 3 different continents since then, leaving her somewhat “rootless”. 

Her journey to discover who her paternal grandmother, named Waithira, was leads her to Germany, Wales and Kenya where three women (her eldest sister and two cousins) named Waithira after their grandmother live. 

The director weaves a tapestry of two generations of African women from the fragments of these three women’s lives as well as the recollections of her uncle Kamau an eighty-year old man who lives on the family’s traditional land in Kenya.

Waithira explores the director’s intimate history and its intersections with forgotten Kenyan history, pop culture and the diaspora. The film thus seeks to investigate how our known, unknown and imagined past impacts our lives.

Eva Munyiri is a Kenyan documentary filmmaker and producer based in Mexico City.
Her first feature Waithira was in competition at the Durban International Film Festival (2017), and selected to the Encounters Documentary Film Festival 2017. It is distributed by Rushlake Media.
Her short film Bankslave part of the web documentary Défense d’Afficher won the France24/RFI prize at the Visa pour l’Image Festival Perpignan in 2012 and was selected to dozens of international festivals, amongst them the Callegenera Festival de Expresiones Urbanas (Mexico 2013) and Mostra Caradura Festival Internacional de Film de Arte Urbana (Rio, Brazil).

Her short film Liquid shot in Madhya Pradesh, India has been used in the Basic Income debate in India and France. She has made two short films for ATD Fourth World on issues of extreme poverty in Tanzania.

Eva has worked as a researcher, producer and curator in South Africa, France and Mexico.
She collaborated with Chimurenga, a Pan African writing, art, and politics collective, to bring their radio station PASS (Pan African Space Station) to the Tamayo Museum one of Mexico City´s leading public contemporary art museums 2017.

She is currently in development for a feature documentary on the town of Cheran in the state of Michoacan, Mexico. 

Waithira - Trailer from Rushlake Media on Vimeo.

Ndiva Women’s Film Festival 2018: “Whispering Truth to Power”, Shameela Seedat, South Africa

Ndiva Women’s Film Festival 

Whispering Truth to Power, 2018
Shameela Seedat
South Africa/Netherlands

Whispering Truth to Power” tells the dramatic story of Thuli Madonsela, South Africa’s first female Public Protector. It’s an official position similar to an Ombud. Madonsela fought against corruption amongst the country’s most powerful politicians at great personal cost.

The film is part portrait; we see her as a boss, mother, and public hero. It also plays out as a gripping political dramaMadonsela ends her last year in office with a dramatic final battle against the country’s President, who has been accused of colluding with a wealthy family to “capture the state.”

Shameela Seedat is a human rights law specialist turned filmmaker from South Africa. Since she began documentary filmmaking, Seedat has been commissioned by various local and international television stations. “Whispering Truth to Power” is her feature-length debut.

Ndiva Women’s Film Festival 2018: “Edwen, Grey Hair: Blessing or Curse”, Elsie Obeng Kwakye, Ghana

Ndiva Women’s Film Festival 

Edwen, Grey Hair: Blessing or Curse, 2018
Elsie Obeng Kwakye

Edwen, Grey Hair: Blessing or Curse, tells the plight of six less privileged aging women from a shantytown in Accra and the Gambaga witches camp. The documentary touches on the lives of these women from childhood through adulthood and narrows it down to their present situations as less privileged aging women living in a developing country. Also, it digs down into that ugly part of culture, that has put the lives of some of these women in danger: infringing on their basic human rights and how some of these women have lived decades in fear in this 21st century and have left several others on the run (fleeing from their homes) and displaced. (Source: Vimeo)

Elsie Obeng-Kwakye obtained a BFA Film/Television Production at NAFTI in Ghana. She directed the innovative show Mystery Basket Junior, a children’s cooking show produced by Eisle Produktion.

Ndiva Women’s Film Festival 2018: “Din’nche”, Najilau Dramundu, Ghana

Ndiva Women’s Film Festival 

Din’nche, 2017
Najilau Dramundu

Zak, a JHS teacher living in Sokamya is motivated by his desire to save a younger friend Pagnaa, 15 from a marriage to Alhaji Mununi, 72. By following a phone number on a newspaper Zak finally gets help to not only save Pagnaa but spark a campaign against the practice of child marriage in his community.

Director’s profile
Najilau Dramundu had this to say about her work: ““I’m obsessed with the idea of being able to manipulate events in your own way…Animation is fascinating…it’s like you’re God, you can create whatever you want whenever you want.”

Dramundu wants to do more than preserve Ghanaian culture with her work. She hopes to address body image issues that are being exasperated by social media and are affecting the younger generation in her hometown, Tamale, in the northern part of the country.

Ndiva Women’s Film Festival 2018: “Potato Potahto”, Shirley Frimpong Manso, Ghana

Ndiva Women’s Film Festival 

Potato Potahto, 2017
Shirley Frimpong Manso

A divorced couple who decide to continue living together soon realize that this ingenious idea is easier said than done.

Shirley Frimpong-Manso is a Ghanaian film director, writer, and producer. She is the founder and CEO of Sparrow Productions, a film, television and advertising production company. She won Best Director at the 6th Africa Movie Academy Awards. (Wikipedia)

Ndiva Women’s Film Festival 2018: "The Vibrancy of Silence: A Discussion with my Sisters", Marthe Djilo Kamga/Frieda Ekotto, Belgium/USA

Ndiva Women’s Film Festival 

The Vibrancy of Silence: A Discussion with my Sisters, 2018
Marthe Djilo Kamga (Director, Belgium)
Frieda Ekotto (Producer, USA)

In this documentary, Marthe Djilo Kamga takes us along as she engages in fruitful conversations with four other Cameroonian female artists who, like her, know exile as well as how necessary it is to transmit to younger generations what they have learned as their multiple identities have evolved and fused. The original score that accompanies the voices of these three generations of women is an active part of the adventure, a witness for the future.

The conversations are connected by key themes of cultural heritage, historical memory and how images shape personal and collective memories.

Biography (Director)
Marthe Djilo Kamga is founder and current coordinator of the Massimadi festival, and her professional and person paths have revolved around her interest in questions of vulnerability, identity, and equal opportunity. Her interest in art and cultural production (film, performance, photography, etc.) empowers her to reappropriate images and pub- lic spaces for people in positions of invisibility. Reoccurring themes in her work are the coexistence of multiple identities and diverse modes of artistic and cultural expression.

Statement of Intentions (Producer)
A Discussion with My Sisters is the first installment of Frieda Ekotto’s visual research project Vibrancy of Silence : Archiving the Images and Cultural Production of Sub-Saharan African Women on African women as the unsung heroines of artistic and cultural production. Indeed, their immense cultural and creative contributions remain un- derrepresented and inexplicably invisible. She is resolved to affirm and archive her own story and thus participate in a rereading of the “Colonial Library” with new kinds of narratives by and for women.

Ndiva Women’s Film Festival 2018: "The Life of Esteban", Inés Eshun, Belgium

Ndiva Women’s Film Festival 

The Life of Esteban, 2017 
Inés Eshun


Esteban, a future Olympic swimmer, has grown up with a single mother and doesn't know who his father is. As he searches for his identity in this poetic short film, he determines swimming is a metaphor for life itself.


Inès Eshun was born in France and moved to Belgium when she was six years old. She has Belgian, Estonian, and Ghanaian roots, and she writes as well as directs. Eshun graduated with a master’s degree in film directing from the Royal Institute for Theatre, Cinema, and Sound in 2017.

30 October 2018

Ndiva Women’s Film Festival 2018 – Official Selection - Accra, Ghana - 1-3 November

Ndiva Women’s Film Festival 2018
Accra, Ghana
1-3 November
Official Selection

Opening Film: The Life of Esteban. Inés Eshun (Belgium) Fiction

Special Feature: The Vibrancy of Silence: A Discussion with my Sisters. Marthe Djilo Kamga/Frieda Ekotto (Belgium/USA) Documentary

Master Class: Les saignantes. Jean Pierre Bekolo (Cameroon) Fiction

Closing Film: Potato Potahto. Shirley Frimpong Manso (Ghana) Fiction

Film Selection
Above the Bottom I March. Rawan Nammgani (Saudi Arabia) Documentary
Ajouna. Hajer Bogshan (Saudi Arabia) Animation
Alsrafah. Bushra Alanduani (Saudi Arabia) Animation
Ana. Riham Altimani (Saudi Arabia) Documentary
Dadzenghor. Jeffrey Akpaloo (Ghana) Documentary
Glax and the Anticipated Prince. Hendi Jambi (Saudi Arabia) Animation
Global Family. Andreas Kohler/Melanie Andernach  (Germany) Documentary
Labyrinth of the Heart. Bushra Alanduani (Saudi Arabia) Animation
Liyana. Aaoron Kopp/Amanda Kopp (Swaziland) Animation
Mirage. Hanouf Abderahman (Saudi Arabia) Fiction
Nhyira. Fabrice Vido (Ghana) Fiction
Sadya: Left Sultan (Saudi Arabia) Documentary
Spin Off. Richard Tetteh (Estonia/Scotland/Portugal) Fiction
Sunset at Noon. Pascal Amanfo/Mame A. Ofosu (Ghana) Fiction
The Forbidden. Kizito Samuel Saviour (Uganda) Fiction
The Lost Café. Kenneth Gyang (Nigeria/Norway) Fiction
War: The Aftermath (Saudi Arabia) Documentary

27 October 2018

Interview/Entretien with/avec Lamia Belkaied-Guiga - General Delegate/Déléguée Générale des JCC (Carthage Festival) by/par Bassirou Niang

Interview with Lamia Belkaied-Guiga - General Delegate of the JCC by Bassirou Niang. Africiné Magazine, Dakar pour Images Francophones
Image : Lamia Belkaied-Guiga. Crédit : DR
Translation from French by Beti Ellerson

Français ci-après

Lamia Belkaied-Guiga, General Delegate of the JCC, academic and film critic, in this interview outlines the main features that will punctuate the 2018 edition.

Bassirou Niang, Africiné Magazine: The JCC is one of the best-organized festivals of the African continent and the Arab world thanks to its well-known organizational abilities. Tell us a little bit about the team that reinforces its recognised reputation.

Lamia Belkaied-Guiga: The goal since the creation of the JCC in 1966 is to support Arab and African cinema and filmmakers. It is the dean of the festivals of the African continent [except the Kélibia festival, Tunisia, ed Africiné], a solid festival that has discovered the greatest Arab and African filmmakers (Souleymane Cissé, Sembene Ousmane, Youssef Chahine, Idrissa Ouedraogo, Djibril Diop Mambéty [Silver Tanit 1970, with Badou Boy, ed Africiné], ...

Carthage is the only festival that creates this link between Arab culture of the Maghreb, the Near East and Africa. The Carthage Festival is a unique phenomenon where film enthusiasts are present at all screenings. The JCC has always encouraged auteur cinema and independent filmmakers. It is a truly activist festival that has always helped filmmakers to make films and to distribute them. This festival has never missed its rendezvous (biennial initially, then annual). This special festival is a launching pad for films and directors, down-to-earth yet promotes quality films internationally. It is a festival of the South certainly but also tri-continental, reaching out to the cinemas that resemble us (Latin America, and the networks of the professionals of the South).

The JCC is a public festival and popular with film enthusiasts. In 2017, there were more than 2 million people around the capital throughout the 10-day duration of the festival. With tens of thousands of film enthusiasts who are increasingly younger, we are obliged to respond to the interests of the youth. The strength of the JCC is its audience: whatever the direction the festival takes, it will continue. We have a unique audience: supportive, informed and demanding.

The JCC is an essential African and world cinema meeting place. Could you tell us the rules and regulations for participation? 

The films are selected according to the rules of the JCC. We have assumed a return to fundamentals: to really defend Arab and African cinematic creativity, to promote independent films and small-scale structures, to have an African presence in terms of film and cinematic presence - industry and institutions (francophone and lusophone) - and increasingly important, supporting young filmmakers and new cinematic experiences (genre films, etc.).

For this 2018 edition, what are the selected themes and how many applications have you received for the feature film, short film and first film competitions?

In the official selection, we selected 65 films (long and short). For the long, we bring together 6 world premiers, 15 Arab premiers and 13 African premiers. In the Official Competition there are 44 films; 24 feature films (including 13 fictions, of which 4 are African, and 11 documentaries including 4 African) and 20 short films composed of 12 fictions and 8 documentaries. Regarding the feature films, 7 are first (and therefore will compete in the Tanit for the First Film. A third of the directors in competition are women, there are 14. Moreover, 19 countries are represented: 9 of the Arab-Berber world (Algeria, Morocco, Egypt, Lebanon, Iraq, Palestine, Tunisian, Syria, Jordan) and 10 from sub-Saharan Africa (Cameroon, Senegal, Republic of Congo, South Africa, Madagascar, Benin, Kenya, Senegal, Chad, Rwanda).

The tributes will be to whom?

Tributes will be paid to Najoua Slama (Tunisia), Youssef Chahine (Egypt), Taieb Louhichi (Tunisia), Attiat Abnoudi (Egypt), Jamil Rateb, Idrissa Ouedraogo.

Senegal is one of the two countries chosen as guests of honour. Why this choice?

The purpose of this focus is to create bridges to the public. For Senegal, the objective is for Africa to be more present in the streets of Tunis with the invitation and the presence of an official delegation of Senegal with 30 people including filmmakers, producers, stakeholders in cinema, journalists…

Senegal is a country illustrative of a real African dynamic. There are more and more films, movie theatres, and the circulation of documentary and fiction works. Senegal is also a country with a cinema culture, it has collaborated with the JCC for more than 50 years (Ousmane Sembene was a co-founder of the JCC, he won the first Tanit award of the Carthage Festival. This focus also provides an opportunity to welcome a few more award-winning African directors at the JCC.

What will be the highlights of the guest countries of honour, especially Senegal? And how many films will it country present?

There will be a special evening in the presence of the officials of both countries and all the guests of the JCC: businesspersons, directors, etc ... In terms of the films, we selected Lamb by Paulin Soumanou Vieyra, The Little Girl who Sold the Sun by Djibril Diop Mambety, A Place on the Plane by Khadidiatou Sow and Goom Bi (The Wound) by Moly Kane, for the short films.

Camp de Thiaroye by Sembene Ousmane, The Pirogue by Moussa Toure, Ndeysaan (The Price of Forgiveness) by Mansour Sora Wade, Madame Brouette by Moussa Absa Sene, Tey by Alain Gomis, Fad'jal by Safi Faye, Touki Bouki by Djibril Diop Mambéty, Karmen Gei by Joseph Gai Ramaka and Congo, a Doctor to Save Women by Angèle Diabang, are the 9 feature films from the Senegal focus.

Will there be any organizational innovations for the 2018 edition (programming, meetings-debates)?

The professional side has been strengthened. We have invited many producers and distributors within the framework of Carthage Pro (Chabaka, Takmil, master classes pros, forum, panels). Chabaka is for projects in development, for which a prize is awarded as well as development grants to enable Arab and African projects to better execute their tasks. Takmil is dedicated to projects at the finishing stage, this professional section is beginning to show results: several films financed by Takmil made it to the major festivals. Carthage Talks is a forum to discuss topics relative to the cinema industry with Arab and African professionals as well as guests from around the world (distributors, international sellers ...).

There are 3 master classes this year: one on film criticism, one on film music, and one that will be presented by Mahamat-Saleh Haroun.

The JCC provides intensive work on the film industry. The goal is to create a kind of Arab and African professional platform that will allow people in cinema to circulate and excel around the world.

Regarding entertainment, what are the names of the artists already selected? Will there be Africans among them?

The stars are the directors, the actors of the films: The JCC is not really a festival of glitter and glamour. It's a festival of the public and of cinema-lovers above all else.

In the retrospective are there plans for the screening of restored copies of films, as was the case with the seductive Wanderers of the Desert by Nacer Khemir?

Presently, we are proud of the creation of the Tunisian Cinematheque which has begun to do this work. Nacer's film has just been screened in this context. We have a whole retrospective program with the Tunisian film library. (Chahine, Abnoudi ..., programming of the award-winning films in Carthage ...).

Have you thought about translation on behalf of French-speaking journalists who, sometimes during the post-projection period, end up with English-speaking directors, filmmakers and Arab actors?

For the press conference and the professional meetings: yes.

What segment will be reserved for film criticism or at least for film critics?

We have two parallel juries of the critics: FACC / Africiné Magazine (Paulin Vieyra Prize) and FIPRESCI (Fipresci Prize). We have invited at least 60 journalists and critics and are offering a master class on film criticism.


Entretien avec Lamia GUIGA BELKAIED, Déléguée Générale des JCC
Propos recueillis par Bassirou NIANG
Africiné Magazine, Dakar
pour Images Francophones
Image : Lamia Belkaied-Guiga, Déléguée Générale des JCC 2018
Crédit : DR

Les JCC sont, on s'en doute, sur le continent africain, le rendez-vous cinématographique le plus fiable, le mieux organisé et de surcroît très à cheval sur la qualité des productions en sélection. Une sorte de fil tendu auquel sont accrochées les cultures des sociétés arabes et africaines. Mais aussi la sulfureuse sensibilité d'un public de cinéphiles vaincus par la passion cinéma. Mme Lamia BELKAIED-GUIGA, Déléguée Générale des JCC, Universitaire et Critique de Cinéma, revient avec nous, dans cet entretien, sur les grandes lignes qui vont rythmer l'édition 2018. Lire l'entretien avec Lamia GUIGA BELKAIED par Bassirou NIANG

26 October 2018

REMINDER Call for entries: African Women Arts & Film Festival (AWAFFEST) – Tanzania

African Women Arts & Film Festival (AWAFFEST)
Dar es Salaam, Tanzania
28-30 March 2019

African Women Arts & Film Festival (AWAFFEST) is a platform to appreciate arts and stories of African women; to celebrate female film practitioners; and to empower aspiring artists. AWAFFEST is held in March to celebrate the International Women’s Month.

Deadline: 30 November 2018


Yvonne Cherrie Monalisa - Regional Director (East)
Molatelo Mainetje - Regional Director (South)
Angele Diabang - Regional Director (West)
Pascale Serra - Regional Director (Central)

Rules & Terms 

Film should be either directed, produced, written, edited, or shot by a woman.

Film can be made by non-African women but the story should be about African women.

Artwork, fashion designs, poetry, and any form of art should be originated or made by a woman. Videos, photos, and descriptions or synopsis of these arts may be uploaded as submission.

Submission must come from a woman.

All entries must be received by the deadline of November 30th.

All photos and trailers provided by "submitter" may be used for any festival promotions.

All entrants certify that they have been given full rights to use any and all music in their films.

Jury Award winners will be selected by a panel of active film industry professionals. All films go through a screening process and are reviewed by at least two members of the selection committee.

Winners agree to participate in the publicity for the Festival as well as other promotional events, including the website.

Awards & Prizes 

Best Narrative Feature
Best Documentary Feature
Best Narrative Short
Best Documentary Short
Best Director
Best Producer
Best Actress
Best Supporting Actress
Best Cinematographer
Best Poet
Best Performing Artist
Best Makeup Artist
Best Fashion Designer
Best Script Writer
Best Emerging Filmmaker 

23 October 2018

JCC 2018 - Les journées cinématographiques de Carthage | Carthage FilmFestival – Séléction Officielle – Official Selection

JCC 2018 
Les journées cinématographiques de Carthage | Carthage Film Festival
Séléction Officielle – Official Selection

Le Grand Jury 
Deborah Young (Présidente)
Ridha Behi 
Licino Azevedo
Diamand Abou Abboud 
Maimouna N’Diaye 
Mai Masri 
Beti Ellerson

Le Jury Documentaire | Documentary
Raed Andoni (Président)
Giona A. Nazzaro
Kaouther Ben Hania
Thierno Ibrahima Dia 

Jury : Prix Taher Chériaa Première Oeuvre  | Debut Film Taher Chériaa Award 
Balufu Bakupa-Kanyinda (Président)
Nadia Kaci 
Hisham Zaman


Feature films | Longs métrages de fictions

Tanit d'or | Golden Tanit
Meilleur comédien | Best male performance : Ahmed Hafian
Fatwa. Mahmoud Ben Mahmoud – Tunisia | Tunisie (2018)

Laaziza. Mohcine Besri – Morocco | Maroc (2018)

Long Métrage | Feature Fiction: Mention speciále | Special mention
Maki’la. Machérie Ekwa Bahango - République Démocratique du Congo (2018)

The Mercy of the Jungle | La miséricorde de la jungle. Joël Karekezi - Rwanda (2018)

Weldi My Dear Son | Mon Cher Enfant. Mohamed Ben Attia – Tunisia | Tunisie (2018)

Meilleure musique | Best Music
Meilleure comedienne | Best female performance : Samantha Mugatsia
Rafiki. Wanuri Kahiu - Kenya (2018)

Look at me | Regarde-moi. Nejib Belkadhi - Tunisia | Tunisie (2018)

Prix Première Oeuvre | First Film Award: Prix | Award TV5 Monde
Prix Première Oeuvre | First Film Award: Taher Cheriaa Award
Long Métrage | Feature Fiction: Mention speciále | Special mention
Sofia. Meryem Benm’Barek – Morocco | Maroc (2018)

Meilleur scénario | Best Scenario
Supa Modo. Likarion Wainaina - Kenya (2018)

Divine Wind Vent divin. Merzak Allouache – Algeria | Algérie (2018)

Tanit bronze | Bronze Tanit
Meilleure image | Best Cinematography
Prix du public | Audience Award
War Travelers | Le voyage inachevé. Joud Said - Lebanon | Liban (2018)

Yara. Abbas Fahdel - Iraq (2018)

Tanit d'argent | Silver Tanit
Yomeddine. A.B. Shawky - Egypt (2018)

Short fiction films | Courts métrages

Tanit bronze | Bronze Tanit
Astra. Nidhal Guiga - Tunisia | Tunisie (2017)

Thin Line | Au Bout du Fil. Faouzi Djemal - Tunisia | Tunisie (2018)

Before We Heal. Nadim Hobeika - Lebanon | Liban (2018)

Tanit d'or | Golden Tanit
Brotherhood. Meryam Joobeur - Tunisia | Tunisie (2018)

Amid Summer and Winter | Entre Eté et Hiver. Shady Fouad - Egypt | Égypte (2018)

Hope | Hévi. Mohammad Shaikhow - Syria | Syrie (2018)

Icyasha. Marie Clémentine Dusabejambo - Rwanda (2018)

Court Métrage | Short Fiction: Mention speciále | Special mention
The Florist | Le Fleuriste. Chamakh Bouslama - Tunisia | Tunisie (2018)

Like Salt. Darine Hotaït - Lebanon | Liban (2018)

Tanit d'argent | Silver Tanit
Lalo’s House | La Maison de Lalo. Kelley Kali - Bénin (2018)

Nadia’s Visa. Hanadi Elyan - Jordanie (2017)

The Crossing | La Traversée. Ameen Nayfeh - Palestine (2017)

Feature Documentaries | Longs métrages documentaires 

Tanit d'or | Golden Tanit
Amal. Mohamed Siam - Egypt | Égypte (2017)

Of fathers and sons | De père en fils. Talal Derki - Syria | Syrie (2017)

Tanit bronze | Bronze Tanit
Erased, Ascent of the Invisible. Ghassan Halwani - Lebanon | Liban (2017)

Prix Première Oeuvre | First Film Award: Mention spéciale | Special Mention 
Fahavalo, Madagascar 1947. Marie-Clémence Andriamonta-Paes - Madagascar (2018)

Le futur dans le retro. Jean-Marie Teno - Cameroun (2018)

Kinshasa Makambo. Dieudo Hamadi - République du Congo (2018)

Meeting my father | Rencontrer mon père. Alassane Diago - Sénégal (2018)

Silas. Anjali Nayar - Kenya (2017)

Subutex. Nasreddine Shili - Tunisia | Tunisie (2018)

We could be heroes. Hind Bensari - Morocco | Maroc (2018)

Tanit d'argent | Silver Tanit
You Come From Far Away. Amal Ramsis - Egypt | Égypte (2018)

Short Documentaries | Documentaires courts métrages 

Tanit d'argent | Silver Tanit
I Signed the Petition. Mahdi Fleifel - Palestine (2018)

I am Sheriff | Je suis Sheriff. Teboho Edkins - South Africa | Afrique du Sud (2017)

Tanit bronze | Bronze Tanit
Kedougou. Mamadou Khouma Gueye - Senegal (2017)

Lakana. Nantenaina Lova - Madagascar (2017)

Survivors of Firdous Square | Les rescapés de la place Al Ferdaous. Adel Khaled - Iraq (2017)

Tanit d'or | Golden Tanit
Resonances. Nicolas Khoury – Lebanon | Liban (2018)

Nooteel. Pape Abdoulaye Seck - Senegal (2018)

Sufism | Soufisme. Younes Ben Hajria– Tunisia | Tunisie (2018)

20 October 2018

FestIC 2018 - Festival des Identités Culturelles (Festival of Cultural Identities) Ouagadougou - 1ère | lst Edition

FestIC 2018
Festival des Identités Culturelles
(Festival of Cultural Identities)
Ouagadougou, Burkina Faso
1ère | lst Edition 

Le Cinéma Numérique Ambulant Afrique CNA crée le Festival des Identités Culturelles, en abrégé FestIC. La première édition de cet évènement se tiendra à Ouagadougou, Burkina Faso, du 4 au 10 novembre 2018 sous le thème : « Identités culturelles en milieu urbain ».

Ce festival a pour but de promouvoir les films qui font découvrir des identités culturelles particulières. Il s’inspire de l’expérience de la pratique du Cinéma Numérique Ambulant en tant que structure de diffusion des cinémas d’Afrique en milieu rural africain.

CNA The Mobile Digital Cinema Africa launches the Festival of Cultural Identities, abbreviated FestIC. The first edition of this event will be held in Ouagadougou, Burkina Faso, from 4 to 10 November 2018 under the theme: "Cultural Identities in an Urban Environment".

This festival aims to promote films that highlight specific cultural identities. It draws on the experience of the practice of CNA The Mobile Digital Cinema as a exhibition/distribution structure for African cinemas in rural Africa.

Les objectifs
- Accroître le niveau de connaissance des populations sur les valeurs et expressions culturelles des communautés minoritaires,
- Promouvoir le dialogue interculturel entre les communautés,
- Promouvoir l’oralité et les arts oratoires des communautés par l’image,
- Distraire et donner à voir des films africains de qualité au grand public.

Le CNA permet aux populations rurales de découvrir la culture d’autres communautés à travers le cinéma. C’est donc un juste retour que de permettre à un public citadin de découvrir des communautés avec leurs richesses culturelles et artistiques qui, pour certaines, sont en train de disparaitre, phagocytées par l’effet de la mondialisation et de la civilisation de l’universel. 

En révélant au public des cultures de sociétés différentes à travers les films diffusés, le CNA participe au rapprochement des communautés et suscite chez les gens l’envie de témoigner de leurs propres valeurs culturelles.

- Increase people's knowledge of the cultural values ​​and expressions of minority communities,
- Promote intercultural dialogue between communities,
- Promote the orality and the oratory arts of communities through the image,
- Entertain and show quality African films to the general public.

The CNA enables rural populations to discover the culture of other communities through film. It is therefore a rightful giving-back to enable urban dwellers to discover communities with their cultural and artistic riches, some of which are disappearing, overtaken by the effect of globalization and the world society.

By presenting to the public the cultures of different societies through the films presented, CNA participates in bringing communities together and inspires people to show their own cultural values.


Okuta, la pierre by/d’Ayéman Aymar Esse, 52’, Bénin, 2015
Douvan jou ka leve (Le jour se lèvera) by/de Gessica Geneus, 52’, Haïti, France, 2017
Iya Tunde, la mère est revenue by/de Laure Malecot, 52’, Sénégal, 2016
Mada underground by/de Denis Sneguirev et Philippe Chevallier, 55’, Madagascar, 2016
Le langage des perles by/d’Arsène Pandi, 12’, Togo, 2017
Gade ! by/de Hermane Desorme, 57’, Haiti, 2017
Les gracieuses by/de Fatima Sissani, 79’, France, 2014   
Le rythme à la canne : un héritage royal by/de Natacha Hounvo, 26’, Bénin, 2017
Talaatay Nder (Le mardi de Nder) by/de Chantal Durpoix, 20’, Sénégal, Brésil, 2016
Under the bell by/de Bart Lambert Oubda, 9’, Burkina Faso, 2015
La promesse du biram by/d’Allamine Kader, 68’, Tchad, 2016
Dance for change by/de Cécile Thery, 63’, Burkina Faso, 2017
Au fantôme du père by/de Marie Laurentine Bayala, 52’, Burkina Faso, 2017
Poissons d'or, poissons africains by/de Thomas Grant et Moussa Diop, 52’, Sénégal, 2018


Le Jardin d’essai by/de Dania Reymond, 43’, Algérie, 2016
N’Zueba by/d’Ursula Koffi, 15’, Côte d’Ivoire, 2018
Toi et moi by/de Steve Kamdeu, 13’, Cameroun, 2017
Héritage by/de Fatoumata Tioye Coulibaly, 15’, Mali, 2017
Tikitat-A-Soulima by/d’Ayoub Layoussifi, 29’, Maroc/France, 2016
Ngouhtepong by/de Vincent Foudoudji, 85’Cameroun, 2017  

12 October 2018

Follow the Udada International Women’s Film Festival – Nairobi - From 11 to 20 October 2018

Follow the Udada International Women’s Film Festival 2018 – Nairobi - From 11 to 20 October 2018

Social Media Networks:

“If We Ran The World…Then, We Need To Tell The Stories We Have Been Silent About”

With a newly introduced year-long program for the 2018 edition, the main festival event falls between the International Day of the Girl and Kenya’s Mashujaa Day (Heroes Day): October 11th – 20th, 2018. Featuring films by and about women from around the world, the 10 days are a celebration of female filmmakers’ in writing, directing, design, and production as well as innovation in the film-making sector

11 October 2018

11 October | Octobre 2018 : International Day of the Girl Child | Journée internationale de la fille

11 October | Octobre 2018
International Day of the Girl Child
Journée internationale de la fille

The day aims to highlight and address the needs and challenges girls face, while promoting girls' empowerment and the fulfillment of their human rights.

Cette Journée vise à mettre en lumière les besoins des filles et à répondre aux défis auxquels elles font face. Cette Journée promeut également l'autonomisation des filles et l'exercice de leurs droits fondamentaux.

The girl-child as main protagonist in a selection of recent films by African women  

La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines

In the selection of films that follow, the girl-child plays the main protagonist. This representation of the girl character is an empowering practice as she deals with complex issues regarding her family and the world around her: Five-year-old Nadia lives in the slums of Casablanca where she is surrounded by a wall that separates her from the rest of the city; Elikia, is a five-year old with albinism, which is considered a stereotype by her neighbors; nine-year-old Zeinab opposes moving to Canada because she hates the snow; ten-year-old Mouna who copes with the death of her mother, almost never separates from her doll Ashia; ten-year-old Godelive attends a Catholic convent school in the Congo. However, the strict western education collides with her own memories of the traditions of her grandmother; eight-year-old Aida attempts to ease the suffering of her mother after her father brings a second wife into the household; after being accused of being a witch and placed in a "witches camp", 9-year-old Shula longs for freedom. Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family. Casablanca of the late 1970s. Eleven-year-old Hiba is fascinated with the cinema at a time in the history of Morocco where this space is still closed to women. Despite her mother’s interdiction, in order to enter the movie house, Hiba is ready to sell the object of her other passion, her books.

Dans une sélection de films récents ci-dessous, la petite fille joue le rôle principal. Cette représentation cinématographique nous montre une image forte et valorisante de la petite fille, lorsqu’elle confronte des questions complexes concernant sa famille et le monde qui l’entoure : Mouna, 10 ans, qui fait face à la mort de sa mère, ne se sépare presque jamais de sa poupée Aisha ; Elikia, 5 ans, est atteinte d’albinisme que son voisinage considère comme un stéréotype ; Nadia, 5 ans, vit dans les bidonvilles de Casablanca où elle est entourée d'un mur qui la sépare du reste de la ville ; Godelive, 10 ans, vit dans un pensionnat catholique en Congo y recevant une éducation occidentale. Mais le souvenir de sa grand-mère s’interpose ; Zeinab, qui a neuf ans, ne veux pas vivre au Canada parce qu’elle n’aime pas la neige; Aida, 8 ans, tente de soulager la souffrance de sa mère après que le père amène une seconde femme à la maison; Shula, qui a neuf ans, accusée de sorcellerie et mise dans un camp de sorcières, rêve de liberté. Aya, 7 ans, vit avec ses parents salafistes, Mariem et Youssef. Par peur d'être banni par sa communauté salafiste, Youssef est contraint d'imposer le port du Niqab à sa femme. Un jour, Aya commet un acte qui bouleversera à jamais le destin de sa famille. Casablanca, fin des années 70. Hiba, âgée de 11 ans, est fascinée par le cinéma à un moment de l'histoire du Maroc où ce lieu est encore fermé à la gente féminine. Malgré l'interdiction de sa mère, elle est prête à revendre l'objet de son autre passion, ses livres, pour y entrer.

05 October 2018

Nobel Peace Prize Winner 2018: Dr. Denis Mukwege: Congo, un médecin pour sauver les femmes | a doctor who saves women a/un film by/de Angèle Diabang

Dr. Denis Mukwege
Photo: © Roches noires Productions / Karoninka
Nobel Peace Prize Winner 2018: Dr. Denis Mukwege: Congo, un médecin pour sauver les femmes | a doctor who saves women, a/un film de/by Angèle Diabang

Dr. Denis Mukwege is a gynecologist and the founder of Panzi, a hospital whose primary mission is treating women who have been raped - casualties in the Democratic Republic of Congo's decades-long war. At the hospital, in the Kivu district of the country, Mukwege and his mostly female team provide reconstructive surgery and psychological counseling, as well as literacy and other programs designed to help patients reintegrate into a society that has a history of shaming and ostracizing rape survivors.

Through the work of Dr Mukwege, the film highlights the atrocities perpetrated on Congolese women, but also offers vivid accounts of their resilience and determination to not be defined by the crimes committed against them. (Source:

Il y a une quinzaine d’années, le Docteur Denis Mukwege a créé l'Hôpital Moderne de Panzi, dans le Sud-Kivu en République Démocratique du Congo. Il y a accueilli et opéré plus de 40 000 femmes violées et mutilées. En octobre 2012, on tente de l’assassiner pour la troisième fois. Pourquoi veut-on faire taire celui qui se révèle l'infatigable défenseur des femmes violées du Congo et celui qui redonne la vie à ces femmes meurtries ? Ce documentaire donne la parole au docteur Mukwege et aux femmes victimes qui ont accepté, exceptionnellement, de se confier à la réalisatrice, Angèle Diabang. Des paroles rares qui racontent l’histoire de ces femmes qui souffrent parce que la barbarie s’est emparée de leur quotidien. (Source:

Photo: © Roches noires Productions / Karoninka

01 October 2018

Milano 2019: Festival del Cinema Africano, d'Asia e America Latina - African, Asian and Latin American Film Festival - Festival du Cinéma Africain, d’Asie et d’Amérique Latine - Le iscrizioni - Call for Entries - L’appel à candidature

23-31 - 3 - 2019

Festival del Cinema Africano, d'Asia e America Latina
African, Asian and Latin American Film Festival
Festival du Cinéma Africain, d’Asie et d’Amérique Latine

Le iscrizioni - Call for Entries - L’appel à candidature

Le iscrizioni per il 29° FESCAAAL. L’iscrizione è gratuita. Deadline: 21 dicembre 2018

Call for Entries. L’inscription est gratuite. Date limite: 21 décembre 2018.

L’appel à candidature. Film submissions are free of charge. Deadline: 21 December 2018.

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