African Diasporas. TV5Monde. Mariannes Noires: Mame-Fatou Niang, Kaytie Nielsen - Femmes noires et flamboyantes (Podcast)

TV5Monde. Mariannes Noires:

Mame-Fatou Niang, Kaytie Nielsen

 Femmes noires et flamboyantes - Podcast ci-après

Mariannes Noires - 2017 - 77min - Diaspora

Source: film-documentaire.fr

Recent violence and growing nationalism in France have brought fierce debates about the country’s identity to the forefront. In Mariannes noires, seven different French-born women of African descent confront their own unique identities and challenge the expectations of French society. In this documentary, they take us through their battles and retrace their most grueling paths in order to understand the social confines that have affected them professionally, psychologically, and emotionally. They share their ideas and solutions to France’s most daunting issues at the heavy intersection of racism and misogyny, and they bravely lead the way forward.

Elles sont artistes, entrepreneures, intellectuelles, et nous parlent de leur quotidien, de leurs aspirations et de leurs combats. Une chose ressort de ces entretiens : elles sont françaises. Naturellement. Sans questions. Pourtant, leur francité baigne, naît et s’épanouit dans des différences culturelles et esthétiques que la France a encore du mal à intégrer. Mariannes noires, ce sont sept récits qui s’enlacent et se font écho afin de lever le voile sur une histoire, celle d’une France multiculturelle qui n’est plus à imaginer, une France qui doute, hoquette et s’épanouit dans la vie de jeunes femmes aux parcours à la fois atypiques et ordinaires.

Diasporas : Mariannes Noires

  

Also see: Femmes noires et flamboyantes | Un podcast à soi (7) - ARTE Radio Podcast

Cairo International Women’s Film Festival: Rough Cut Workshop for Arab Women Filmmakers (2019) Deadline 7 January 2019

Cairo International Women’s Film Festival Rough Cut Workshop for

Arab Women Filmmakers (2019)

APPLY NOW

Deadline 7 January 2019

The Rough-Cut Workshop is an audiovisual consultation offered to women filmmakers who are in the phase of working on the first rough-cut of their cinematographic work and need support regarding the content and the development of their film on an artistic and editing level.

Six Arab women filmmakers working on the rough-cut of their films, will be selected. The workshop will allow them to engage in discussions of each other’s audiovisual works and to debate its different elements. They will also be discussing their works with an international jury made up of film critics, directors and editors.

The festival will cover the travel and accommodation expenses of the selected filmmakers.

Apply Now

http://cairowomenfilmfest.com/workshops/rough-cut-workshop/submission/

For more information

http://cairowomenfilmfest.com/

Aïcha Macky talks about her film "l'Arbre sans fruit" (The Fruitless Tree)

Aïcha Macky begins and ends her film Fruitless Tree in dialogue with her mother: “Dearest Mama, while giving life, you lost yours.” She laments her own circumstance, “whereas I’m dying a slow death by not being able to give life. ” Nonetheless, she tells her mother that her steps are guided by her spirit.

She talks with Aïssa Abdoulaye Alfary* about her reasons for making the film (translation from French by Beti Ellerson):
 
After four years of marriage, we still did not have a child. This situation is considered  "out of the ordinary" in my country, Niger, in which marital status means that the couple gives birth as soon as possible. Not a month or even a week went by without me being involved in a baptism. The first question I was  asked was when are you going to also have a child? That was at the beginning of my married life. The more time passed, the more it became a psychological pressure. I didn't know what to say to people. Should I have to talk about my personal life, to justify myself at each instance? Should I have to tell people that the child does not just make itself? So many questions that harbored within me.

In this context, it is difficult to escape from the judgment of others and the pressure that is put on women. But the woman is not the only one who is affected, the couple can also be imperiled for not meeting the requirements of marital life.

My delay in motherhood has created a personal disorder that questions both my place in my own family—the after affects related to my mother's death, but also my own place in society. This raises questions about what happens when a woman is in a situation of failure regarding this "duty" required by her gender, what then is her relationship with the women's community, her feelings about herself.

My mother died following childbirth when I was only five years old and I have been dying slowly by not giving this life. I filmed this notebook of my life, and I made a parallelism between my story and that of my mother. It is a film that traces the path of my relationship with motherhood, and takes as a starting point this mother, unknown, of whom I only keep a blurred photo. Through my personal experience, I seek to probe the fate of women in relationship to childbirth - and gathering the feelings of women who are presumed infertile. The "fruitless tree" documents this reality that surrounds us but that we do not perceive.

*Aïssa Abdoulaye Alfary (onep) 07 décembre 2018  Source : http://www.lesahel.org 

(Re)Discover Claudine Ndimbira

(Re)Discover Claudine Ndimbira

Updated to include: Profile of Claudine Ndimbira from Women's Voices Now

Ndimbira Claudine (Shenge Intare) is a young Rwandan female filmmaker residing in Kigali. At the age of 15, she began writing stories. In 2012, she began taking short courses in digital film making at the Kwetu Film Institute after high school. In March 2013, she participated in the animation workshop at the Luxor International Film Festival. In July 2013 she wrote and directed her first short film called “My mother, My hero” in a workshop called Girls Make Movies, during the Rwanda Film Festival.

From March-August 2014, as coordinator for the short film project “Shed Light on Your Rights,” she produced two fiction films, “Impuruza” and “She,” and directed another film called “SHE.” Ndimbira has participated in several workshops by the Europäisches Filmzentrum Babelsberg (EFB) in partnership with Kwetu Film Institute, where she directed her first short documentary Hora Mama.

Hora Mama was inspired by the complex reality for poor mothers. A mother can care so deeply about her daughter that she prostitutes herself. A mother can thrive in a life that she does not want her children to live. A mother can be broken but never cry. Ndimbira has developed a relationship with Mahoro, the mother in “Hora Mama,” and finds that the story of her struggle has forever affected her understanding of reality for women. The film may be viewed at: https://www.womensvoicesnow.org/films/hora-mama-dont-cry-mother

Source: https://www.womensvoicesnow.org/films/hora-mama-dont-cry-mother

Image: Maisha Lab

Claudine Ndimbira's experimental documentary Lend Me Your Voice, was released in 2022. Excerpt of the description of the film: In this intimate documentary essay, the director Claudine Ndimbira had the young woman tell her testimony through a group of readers. These men and women who know neither Akili nor her past, but they will develop with her, over the course of reading her story, a deep bond of empathy.

This article was originally posted as:

Claudine Ndimbira : Support her film project “Living like a shadow” about the LGBTQ community in Rwanda

Claudine Ndimbira had this to say about the film project:

With this project “Living like a shadow” I want to give the voice to LGBTQ community members in Rwanda to tell their stories, what they have been through, what they wish their lives could be but also to the society so that they say what is the reason why they think being gay is a problem to them.
Source: http://creativerwanda.com/interview-with-ndimbira-claudine-shenge/ NO LONGER ACTIVE

Synopsis

“Living like a shadow” is a 90 minutes film that will follow the lives of 3 characters. Even if some have similar issues or experiences – like living a double love life due to what the society expects from them or being judged often, each one of them has a unique story.

Excerpt from Director’s Statement

I want to make this film to shed light on that issue so that it can start a conversation. People fear what they don’t understand or what they refuse to understand but at the end of the day the solution is to talk about it and react positively.