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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25 June 2020

An animation story of Ugandan scholar Sr. Dr. Dominica Dipio's work in orality, literature and film

An animation story of Ugandan scholar
Sr. Dr. Dominica Dipio's work
in orality, literature and film

“For us, Africans who are predominantly described as very oral people, the film medium is a very powerful continuation, in a way, of our orality. I am no longer that scholar who writes a fine paper and has it published in a journal.” (Video by Osmosis Films)


Moreover, Sr. Dipio, who completed her doctoral studies at the Pontifical Gregorian University in Rome, was appointed as one of four consultors of the Vatican-based Pontifical Council for Culture in 2019.

Also see on the African Women in Cinema Blog: 
Gender Terrains in African Cinema (2014) by Ugandan scholar Dominica Dipio

24 June 2020

Black Camera: African Women, Cinema, and Leadership: Empowerment, Mentorship, and Role-Modeling by Beti Ellerson (Spring 2020)

African Women, Cinema, and Leadership: Empowerment, Mentorship,
and Role-Modeling
Beti Ellerson
Black Camera: An International Film Journal
African Women in Cinema Dossier
Vol. 11, No. 2 (Spring 2020), pp. 222-238


Leadership entails listening, sharing, mentoring, and understanding that we may learn from each other through diverse exchanges: intergenerational, intercultural, and inter-regional. These features are incorporated in many of the workshops and forums organized by African women, designed for leadership awareness and development. Moreover, African women film professionals have initiated mechanisms to foster effective leadership in the diverse areas of the profession. These initiatives aim to create an African women's cinema culture that encourages and empowers women film professionals as well as those who seek to work in cinema. Leadership encompasses consensus building, collaboration, being a team player, and being prepared to change one's attitude when confronted with other perspectives. These are foundational strategies that African women employ in their leadership practices. And perhaps above all, it is important to remember that leaders were also at one time students, mentees, apprentices, and assistants. Drawing from general women and leadership discourse, this article examines the leadership strategies of African women of the moving image.

- When African women in cinema take action, African cinema moves forward
- Strategies of African women, cinema and leadership
- Leadership recognition, support and development
- Visualizing leadership: strong, empowering, and influential women on screen
- Current strategies of mentorship
- Taking care of our leaders: watching over those who watch over us
- What is sisterhood to you?

23 June 2020

Conférence du Pavillon des Cinémas d'Afrique : Programme Tables Rondes : "Porter haut et fort la voix des femmes dans les cinémas d'Afrique" (Women's voices heard loud and clear in the cinemas of Africa)

Porter haut et fort la voix des femmes dans les cinémas d'Afrique
(Women's voices heard loud and clear in the cinemas of Africa)

The first Zoom e-conference of the Pavillon des Cinémas d'Afrique in a Programme of Roundtables organized by the ACA-Agence Culturelle Africaine, was held on 22 June 2020. Producer, director, actress, film critic, came together to discuss their experiences and concerns in the world of cinema.

The 1 hour 34 minute e-conference moderated by journalist Hortense Assaga, included Marie-Clémence Andriamonta-Paes, director and producer, Mouna Ndiaye, actress and festival organizer, Nadia Rais, animation film director, Naky Sy Savané, actress and festival organizer, Fatou Kiné Séne, journalist and president of the Fédération africaine des critiques de cinéma (African federation film critics), Olga Tiyon, production and communication coordinator, 7 jours pour 7 films. The diverse women represented the myriad roles that African women hold within the world of cinema, often multiple. Appearances from audience participants, such as Stéphanie Dongmo, film and cultural critic, writer and blogger as well as other notable francophone film critics on the African continent and in Europe, is indicative of the span of African cinema criticism. Moreover, introducing the ACA e-conference series with a focus on the experiences and concerns of women highlights the growing importance of women's visibility and presence.

Hortense Assaga, introduced the round table by highlighting the eternal question of gender parity. She posed several questions as a point of departure: Here we have women who work to have their voices heard and be recognized as full-fledged members within the profession of cinema. How does this manifest itself in Africa? On other continents? How do these women manage? What are their strategies? How do they ensure that their work is recognized, that their presence matters? How do they experience these practices of gendering? How do they negotiate the myriad discourses and politics of gender?

The exchange unfolded less as a "roundtable" dialogue where the participants interacted with each other, but rather as a moderated discussion fed by questions from Hortense Assaga to individual women. Hence, the more existential aspect of the introductory questions--especially as it relates to practices of gendering--were less developed. At the same time, an array of important issues relevant to film professionals in general were explored, highlighting what many women have often asserted, that while women have concerns that are gender-specific, others are shared by both African women and men. For instance, some of Marie-Clémence Andriamonta-Paes's responses from Hortense Assaga's questions around gender were framed in the context of Euro-centric dominance of ideas and values. Having always partnered with her husband, who is also a film professional, there are daily struggles in general. In addition, film critic Fatou Kiné Sène cautions against always looking through a gendered lens, which may distort the actual merit of a film: "It is merit and not our status as a woman that allows us to "box" in the same category as men." Similarly, animation filmmaker Nadia Rais notes that while women in animation are rare, there is already the question of being an artist, hence, the art form of animation cinema adds to the complexity of the question. Since there are not many animation film festivals, these films are included in the midst of fiction films, though the genre is very different: "We're part of another group, and sometimes we feel like we don't really exist. So our problem is not the issue of being a woman." 

Nonetheless, the gendered question of women's experiences in cinema was firmly rooted throughout the discussion.

Hortense Assaga asks, "as a filmmaker and producer, how does she position herself in the context of gender?" Marie-Clémence Andriamonta-Paes has developed an attitude of perseverance: "Coming from a society where women forge ahead as a matter of course, looking out for the most vulnerable in society is active work... everyday it is necessary to say that being a filmmaker from the South, that these stories are equally important." Nonetheless, she admits that the environment within cinema "is very patriarchal, very concentrated, that there is a dominance of men in positions of power...And hence, many women in the profession are often in a position to have to manage this status of inequality...It is in this context that more must be done to build awareness that this is not normal, to have to obey and serve."

For Naky Sy Savane, being an actress is also being a feminist activist in the context of cinema as a form of engagement, which Hortense Assaga, interprets as a commitment, a way of being part of the struggle. "As a feminist, we can't let things go on like this because there are generations following us. If I have a choice, I take the scenarios that advance the cause of women." Similarly, for actress/filmmaker Maïmouna N’Diaye, "to make films is to speak up and say out loud what many people think but do not dare say, in particular women, children and vulnerable people. I think it is our duty, in fact, to use this tool as a voice and shake up things, as a means to make things change so that we can move forward together." Hortense Assaga highlighted Maïmouna N’Diaye's role as the only African on the main jury at Cannes in 2019. She responded: "I felt a bit alone, but this loneliness allowed me to think of all my sisters, from all over Africa, and it gave me strength. I said to myself I am representing all of these women. I was proud of it and it gave me the strength to do it."

Fatou Kiné Sène, who was elected president of the Dakar-based African Federation of Cinematographic Critics (FACC) in 2019, notes the importance of the association website in order to give more visibility to all African films. In Senegal, the Films Femmes Afrique festival highlights the works of African women on the continent. In 2013, FACC created the Women's Cinema Month. Similarly, Naky Sy Savané, who is also founder and organizer of the Ivoirian-based FESTILAG, the International Film Festival of Lakes and Lagoons, highlighted the creation of ACAI, l’Association des Comédiennes Africaines de l’Image (Association of African Actresses of the Image).

Olga Tiyon, production and communication coordinator of "7 jours pour 1 film", emphasized the importance of framing gender broadly in all aspects of the filmmaking process: "As a result, by putting more emphasis on gender, it is easier for these women to enter areas in which they did not have easy access."

Video-recorded and uploaded on YouTube on 23 June 2020 (, excerpts translated into English from the French-language event by Beti Ellerson.

Links to African Women in Cinema Blog articles:
Olga Tiyon

Programme Tables Rondes ACA-Agence Culturelle Africaine
Jun. 22 juin 2020, 09:00 – ven. 26 juin 2020, 18:00

#22_Juin : Porter haut et fort la voix des femmes dans les cinémas d'Afrique
11h30 – Heure de Paris
Productrice, réalisatrice, actrice, critique de cinéma… La parole est à ces femmes de l’industrie du cinéma pour faire entendre leur combat.
#Participantes :
- Mouna Ndiaye, actrice et réalisatrice
- Naky Sy Savané, actrice et promotrice de festival
- Fatou Kiné Séne, présidente de la Fédération africaine des critiques de cinéma
- Marie-Clémence Andriamonta-Paes, réalisatrice et productrice
#Modératrice : Hortense Assaga, journaliste
Pour participer à la conférence, inscrivez-vous gratuitement en cliquant sur ce lien :

#23_juin : Nouvelles opportunités de financement pour les réalisateurs et producteurs des pays ACP
Avec le soutien du Centre national de l’image animée (CNC)
11H30 - Heure de Paris
Modérateur: Olivier Barlet, critique de cinéma

#24_juin : Face à la crise du cinéma liée à la Covid-19, la réponse des Etats.
11h30 - Heure de Paris
Modératrice : Cathérine Ruelle, spécialiste du cinéma africain

#25_juin : un an du projet SENTOO : quel bilan ?
Modérateur : Faissol Gnonlonfin, producteur
11h30 - Heure de Paris

#26_juin : Echanges avec les fondateurs de LAFAAAC, la plateforme digitale qui forme aux métiers des industries créatives
Avec Olivier Pascal, co-fondateur, directeur général de LAFAAAC
12h - Heure de Paris

Pour plus d’infos :

#Agence_Culturelle_Africaine #Festival_de_Cannes

04 June 2020

Appel à projet de films : Ẅ XOOL FESTIVAL - festival de cinéma dédié à la promotion de films réalisés par des Femmes Cis et Trans Noires françaises | Film Festival dedicated to the promotion of films made by French Cis and Trans Black Women


A l’occasion de la 1ère édition du Ẅ XOOL FESTIVAL - festival de cinéma dédié à la promotion de films réalisés par des Femmes Cis et Trans Noires françaises et/ou dont les films sont accessibles en langue ou sous-titres français- qui aura lieu (probablement) le samedi 26 septembre 2020 à Argenteuil, nous lançons un appel à projet de films (courts et moyens métrages: fictions, docus, jeunesse, animés etc…) réalisés par des femmes Noires.

Envoyez vos candidatures et projets à cette adresse mail: jusqu’au 1er JUILLET 2020. (See English below)

UNE PROGRAMMATION 100% Afro-féminine

Avec l’ouvrage « Noire n’est pas mon métier » paru en 2018, seize actrices françaises Noires ont mis en avant leur parcours et leur travail semé d’embûches et empreint de discrimination. Même si le résultat de leur démarche se fait encore attendre, cela a permis de les mettre en avant et de tirer - à nouveau- la sonnette d’alarme sur le cruel manque de représentations et de diversité des histoires racontées en images par le cinéma français aujourd’hui.

Qu’en est-il des Femmes – Ẅ - qui portent leur regard unique – xool - sur le monde ? Les Femmes qui sont derrière la caméra ? Absentes, tout au plus anecdotiques, dans le paysage audiovisuel et cinématographique français, ou lors des grandes cérémonies de récompenses, on pourrait croire qu’elles n’existent pas. Seules trois réalisatrices Noires ont été récompensées par un césar, Euzhan Palcy (en 1983), Alice Diop (en 2016) et Maïmouna Doucouré (en 2017).

Liées par le désir de mettre ces Femmes et leurs imaginaires en lumière, nous nous sommes regroupées pour proposer une programmation variée de courts et moyens métrages français et internationaux, documentaires, fictions, films d’animation réalisées par des personnes qui nous ressemblent.


(Ẅ XOOL statement translated from French) 
On the occasion of the 1st edition of the Ẅ XOOL FESTIVAL, a film festival dedicated to the promotion of films made by French Cis and Trans Black Women and / or whose films are accessible in the French language or with French-language subtitles, will take place (probably) on Saturday, 26 September 2020 in Argenteuil. A call is launched for film projects (short and medium-length films: fictions, docus, youth, animated films, etc.) made by Black women.

Send your applications and projects to this email address:, open until 1 JULY 2020.

100% Afro-woman-focused programming

In "Noire n’est pas mon profession" published in 2018, sixteen black French actresses highlighted their journey and their work, and the pitfalls and discrimination that they experienced. Even if reactions to this endeavor has yet to come, it allowed their concerns to be heard and to sound - again -  the alarm over the stark lack of representation and diversity of the stories told in the images of French cinema today.

What about Women - - who have their unique perspective - xool - of the world? The women behind the camera? Absent, at most, anecdotal, in the French audiovisual and cinematic landscape. Or during major award ceremonies, one might think that they do not exist. Only three Black women directors have been awarded a César: Euzhan Palcy, in 1983; Alice Diop and Maïmouna Doucouré, in 2017.

Bound by the desire to bring these Women and their imaginary to light, we have come together to offer a diverse program of short and medium French and international, documentaries, fiction, and animated films made by people who look like us. 

01 June 2020

African Women in the Time of COVID-19 : A Short Film Competition | Les femmes africaines aux temps de COVID-19 - Un concour de courts métrages

African Women in the Time of COVID-19 :
A Short Film Competition

Les femmes africaines aux temps de COVID-19 - Un concour de courts métrages

Ladima Foundation  - DW Akademie

African women have stories to tell. Let's watch them. Create a 2 minute film and let African women's story be seen.

Les femmes africaines ont des histoires à raconter.  Regardons-les ! Créer un film de 2 minutes : que les histoires des femmes soient vues.


- Only women may enter the Ladima Covid-19 Film Competition.
- Only women currently living in Africa may enter The Ladima Covid-19 film competition.
- All entrants must register on the Ladima A-List.
- All entrants must have a bank account where they can receive international payment.
- All entrants will be required to sign a release / rights agreement.
- Film must be 2 minutes or shorter.
- A link for film entries must be provided in your submission.
- Films can be in any language but those not in English must be sub-titled.
- No Ladima Foundation Board Member, Ambassador, Advisory Board Member, Member of the Covid-19 film competition Selection Committee or Jury are eligible to enter.
- Submission can only be done via the A-List.
- Submissions close at midnight June 21st, 2020, CAT and no late submissions will be accepted.
- Filmmakers can only submit one film per filmmaker.

La Fondation Ladima, en partenariat avec la DW Akademie

La Fondation Ladima, en partenariat avec la DW Akademie, est heureuse de vous annoncer une compétition de courts métrages destinée aux femmes africaines durant la pandémie de Covid-19 qui change notre monde ferme nos frontières.

Le concours est ouvert aux femmes créatrices de contenu et cinéastes de tout âge ou niveau d’expérience. Le concours vise à encourager les femmes à partager leurs histoires en créant un document vivant d’un temps et d’un lieu – des circonstances spécifiques auxquelles les femmes en Afrique se trouvent actuellement, sous divers degrés de mesure préventives, à travers les limitations de mouvement, d’opportunité, de confinement et souvent, les libertés fondamentales.

L’impact de la Covid-19 à travers le monde, et en particulier en Afrique, est davantage ressenti par les personnes vulnérables de la société. Dans de nombreux pays africains, les opportunités et l’accès aux opportunités pour les femmes sont limités, et l’impact économique et social de la Covid-19 affecte, dans de nombreux cas, les femmes plus durement et de différentes manières que leurs homologues masculins. Il y a des problèmes qui touchent les femmes, comme la violence domestique, la modification de l’accès aux opportunités, l’augmentation du fardeau des soins et bien d’autres.

Cette compétition de films invite les femmes à partager ces expériences – qu’elles soient stimulantes, positives ou simplement questionnantes. Les histoires doivent être honnêtes, personnelles et spécifiquement liées à la situation actuelle de la COVID-19. Les inscriptions dans tous les genres sont les bienvenues, de l’animation et la fiction au style documentaire ou interview – tant que le contenu est de 2 minutes ou plus court.

L’inscription est GRATUITE et les femmes devront s’inscrire sur la list-A qui recense toutes les femmes dans le cinéma:

Dix films gagnants seront sélectionnés par un jury, puis diffusés sur le site Web de Ladima avec d’autres sites Web partenaires. Chaque cinéaste gagnant recevra la somme de 500 euros.

Critères de sélection et de jugement:

Toute femme vivant actuellement en Afrique peut participer à cette compétition. Pour participer, vous devez vous inscrire sur la A-list:

Les inscriptions doivent être reçues avant minuit GMT + 2 le dimanche 21 juin 2020.

Les termes et conditions complets sont sur le site Web de Ladima Fondation.

Les films doivent durer moins de 2 minutes et doivent se concentrer sur les thèmes suivants à travers une lentille inspirante, éducative, personnelle ou de direction.

– Femmes ayant des besoins spéciaux / Faire face à des besoins spéciaux pendant le confinement / Prendre soin des personnes ayant des besoins spéciaux pendant une pandémie mondiale

– Impact sur la vie familiale / domestique

– Économique / impact sur la vie professionnelle

– Violence / abus domestique au temps de Covid-19

– L’espoir au temps de Covid-19

– Les femmes paient-elles un prix plus élevé?

– Comment la crise met-elle en évidence et affecte-t-elle le rôle des femmes?

– La crise comme coup de pied pour repenser l’ordre social?

– Solidarité et autonomisation des femmes à l’époque de Covid -19

Les films seront jugés sur les critères suivants:

THÈME Connexion et pertinence par rapport aux thèmes ci-dessus


L’histoire a un message clair et un scénario unique

Originalité de l’histoire et / ou de l’approche

Une narration riche et vibrante qui engage, amuse ou provoque le spectateur


Meilleure utilisation de la technologie

Aspects techniques tels que l’éclairage, le son, etc.

 CRÉATIVITÉ Original et captivant

Écriture et mise en scène imaginatives

Présente le thème d’une manière intéressante


Visuellement attrayant et divertissant

Affecte le public en suscitant une réponse émotionnelle

Crée une impression durable

STRUCTURE Serré; pas trop longtemps pour le concept

Les images sont organisées logiquement d’une manière qui correspond à l’objectif du film

Ladima Foundation Website:

The Ladima Foundation is a Pan-African non-profit organisation founded with the aim of contributing to correcting the major gender imbalances within the film, TV and content industries.

Ladima Foundation's Mission:
The Ladima Foundation supports and recognizes African women in Film, TV and Content. Through training and networking programmes, Ladima uplifts, connects and includes. Ladima operates in the spirit of positivity, excellence and integrity

Support for African women filmmakers from African women…and women around the world.
Meet the Ladima Foundation Team:

Edima Otuokon (Nigeria)
Lara Utian-Preston (South Africa)
Lydia Idakula Sobogun (Nigeria)
Patrice Carter (Jamaica-USA)
Theresa Hill (South Africa)
Malu Van Leeuwen (Zanzibar)
Adenike Mantey (Nigeria)

Omoni Oboli's "Love is War" on Netflix

Omoni Oboli's "Love is War" on Netflix

Omoni Oboli
Love is War
2019 - 111min - Comedy Drama

An adoring couple elects to test the strength of their marriage when they run against each other for the office of state governor.

Omoni Oboli heads the production and movie equipment rental company in Nigeria, Dioni Visions Limited. She is an actress, scriptwriter, producer and director. She studied at the New York Film Academy and has written several screenplays, including The Figurine (2009), Anchor Baby (2010), Fatal Imagination, Being Mrs Elliott, The First Lady and Wives on Strike (2016). In 2018 she starred and directed the comedy film, Moms at War, and in 2019, the comedy-drama, Love is War.

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