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

12 April 2021

La femme dans l'Afrique Moderne - CNA Cinéma Numérique Ambulant TOGO - Appel à candidature pour une résidence d'Écriture de Courts métrages | The Woman in Contemporary Africa. Call for candidates

APPEL À PROJETS - ATCNA

L'Association Togolaise du Cinéma Numérique Ambulant (ATCNA) lance un appel à candidature pour une résidence d'Écriture de Courts métrages destinée aux jeunes femmes Auteures-Réalisatrices francophones
 
The Togolese Association of CNA (Mobile Digital Cinema) launches a call for candidates for a writing residency for short films targeting young francophone women creators-filmmakers
 
Envoyez les dossiers d'inscription à l'adresse : atcnatogo@gmail.com
 
See English translation below for informational purposes
 
- Pays concernés : Bénin , Burkina-Faso, Cameroun, Côte d'Ivoire, Gabon, Niger, Sénégal, Togo
- Age des Candidates : 18 - 25 ans
- Thème des films de collection : Les scénarios doivent raconter des histoires sur  *LA FEMME DANS L'AFRIQUE MODERNE*
- Dates des inscriptions : 01 au 30 avril 2021
- Dates de la résidence : 01 au 21 juin 2021
- Envoyez les dossiers d'inscription à l'adresse : atcnatogo@gmail.com
avec l'objet "AFRIQUE EN VUES"
NB :  Les projets de films inscrits ne doivent pas avoir de producteurs

***

Call for projects - ATCNA : As the call for projects is for Francophone African countries, the English translation is for informational purposes.
The Togolese Association of CNA (Mobile Digital Cinema) launches a call for candidates for a writing residency for short films targeting young francophone women creators-filmmakers.
Participating countries  : Bénin , Burkina-Faso, Cameroun, Côte d'Ivoire, Gabon, Niger, Sénégal, Togo
- Age of Candidates : 18 - 25 years-old
- Theme of films for the collection : The scripts must tell the stories of : The Woman in Contemporary Africa
- Application dates : 01 to 30 April 2021
- Residency dates : 01 to 21 June 2021
The film projects should not already have producers
 

10 April 2021

Vues d'Afrique 2021. Mamounata Nikièma : L’Odyssée d’Omar (Burkina Faso)

Vues d'Afrique 2021
vuesdafrique.org/

Mamounata Nikièma
L’Odyssée d’Omar


Mamounata Nikièma
L’Odyssée d’Omar
Burkina Faso | France
2020 - Documentary - 77min

Synopsis
 
In Ouagadougou, Yves-Omar, a former schoolteacher is now an accomplished entrepreneur. Although he enjoys living with his family, his business pushes him to travel more and more to develop his company and create new partnerships in Paris, Munich, Brussels, Lomé. Drawing from her own experience, through Omar's Odyssey the director offers us another way of understanding the links between Europe and Africa. The experience of a man who--like Ulysses--returns home after long voyages. Each time experiencing the pleasure of returning to his country, Burkina Faso.

À Ouagadougou, Yves-Omar est un ancien instituteur reconverti en entrepreneur accompli. Même s’il apprécie de vivre auprès des siens, ses affaires le poussent à voyager toujours plus pour développer son entreprise et créer de nouveaux partenariats, à Paris, Munich, Bruxelles ou Lomé. Au regard de son propre vécu, la réalisatrice nous propose avec « L’Odyssée d’Omar » une autre façon d’appréhender les liens entre l’Europe et l’Afrique. L’expérience d’un homme qui – tel Ulysse – rentre chez lui après de longs voyages. Avec, à chaque fois, le plaisir de retrouver son pays, le Burkina Faso.

Bio

After completing two writing residencies and a Masters in creative documentary filmmaking, Mamounata Nikièma pursues her career as both director and a producer. She is very involved in the networks of Burkinabè filmmakers (Africadoc Burkina, Scriptwriters Guild, Producers Coordination), and for several years, has actively participated at Fespaco, in particular, the Espace Junior program. Since 2014, she has also been an assistant trainer during the Bobo-Dioulasso documentary writing residencies.

Après deux résidences d’écriture et un Master en réalisation documentaire de création, Mamounata Nikièma mène de front sa carrière de réalisatrice et celle de productrice. Elle est très impliquée dans les réseaux de cinéastes burkinabè (Africadoc Burkina, Guilde des scénaristes, Coordination des producteurs), et participe activement depuis plusieurs années au Fespaco, au sein de l’Espace Junior. Depuis 2014, elle est également assistante formatrice lors des résidences d’écriture documentaire de Bobo-Dioulasso.

Vues d'Afrique 2021. Chloé Aïcha Boro Leterrier : Alors, je vous sers? (Burkina Faso)

Vues d'Afrique 2021
vuesdafrique.org/

Chloé Aïcha Boro Leterrier
Alors, je vous sers?


Chloé Aïcha Boro Leterrier
Alors, je vous sers?
Burkina Faso
2020 - Fiction - 7 min

Synopsis

A Christmas evening in a Franco-African household. The atmosphere is festive. Everyone attempts to show their tolerance. However, over the course of the evening, the missteps, the gaffes resulting from the lack of awareness of the other's culture, gradually builds into gripping tension, until the final act.

Un soir de Noël dans une maison franco-africaine. L’ambiance est festive. Tous s’attellent à afficher leur tolérance. Sauf qu’au fil de la soirée, les maladresses, les impairs dus à la méconnaissance de la culture de l’autre, font progressivement monter une tension sourde, jusqu’à l’acte final.

Bio

Writer and filmmaker, Franco-Burkinabé Chloé Aïcha Boro began as a journalist in print media after her university studies in modern literatures. She pursued documentary filmmaking with her first feature Farafin ko, which has received several awards.

Écrivaine et cinéaste franco-burkinabé, Chloé Aïcha Boro, après des études universitaires de lettres modernes, commence comme journaliste dans la presse écrite. Elle se met au documentaire avec un premier long métrage remarqué : « Farafin ko », maintes fois primé.

Vues d'Afrique 2021. Anissa Daoud : Le bain | The Bath (Tunisia)

Vues d'Afrique 2021
vuesdafrique.org/

Anissa Daoud
Le Bain | The Bath

Anissa Daoud
Le Bain | The Bath
Tunisie / France
2020 - Fiction - 15min

Synopsis

Imed, a young father, alone with his five-year-old son for several days while his wife is away on a business trip, is confronted with his deepest fears.

Imed, un jeune père, se retrouvant pour quelques jours seul pour la première fois avec son fils de 5 ans, à cause d’un déplacement professionnel de sa femme, va devoir confronter ses peurs les plus profondes.

Bio

Self-taught and multi-skilled, Anissa Daoud is bi-ethnic and bi-cultural, of a Tunisian father and Franco-Italian mother. First as an actress and author, then producer, and more recently director, she navigates between theater and cinema with politically-charged projects.

Autodidacte et touche à tout, Anissa Daoud est née d’un père tunisien et d’une mère franco-italienne. D’abord actrice et auteure puis productrice et plus récemment réalisatrice, elle navigue entre théâtre et cinéma avec des projets au fort contenu politique.
 
https://vimeo.com/471304005

LE BAIN, de Anissa Daoud - Bande-annonce ( VOSTFR) from Artistes Producteurs Associés on Vimeo.

Vues d'Afrique 2021. Lina Soualem : Leur Algérie | Their Algeria

Vues d'Afrique 2021
vuesdafrique.org/

Lina Soualem
Leur Algérie | Their Algeria

Lina Soualem
Leur Algérie | Their Algeria
France | Algérie | Suisse | Qatar

2020 - Documentary - 70min

Synopsis
Lina's grandparents have decided to separate. Together, more than 60 years ago, they left Algeria for Thiers, in the center of France. Side by side they traversed this chaotic immigrant life. For Lina, their separation is the opportunity to investigate their long journey of exile, as well as her own identity.

Les grands-parents de Lina ont décidé de se séparer. Ensemble, ils étaient venus d’Algérie à Thiers, au centre de la France, il y a plus de 60 ans, et côte à côte ils avaient traversé cette vie chaotique d’immigrés. Pour Lina, leur séparation est l’occasion de questionner leur long voyage d’exil, ainsi que son identité.

Bio
Lina Soualem is a Franco-Palestian-Algerian filmmaker and actor born and based in Paris. After her studies in history and political science at the Sorbonne, she began to work as a journalist and as a programmer in film festivals, wanting to combine her interests in cinema and studies in contemporary Arab societies. Lina has worked as programmer for the International Film Festival for Human Rights in Buenos Aires and the Festival Palest’In & Out in Paris, among others. In 2019, her first feature documentary Their Algeria produced by AGAT Films & Cie, was awarded the prize for best doc-in-progress at the Doc Corner at Cannes. Their Algeria was created at the Festival international du film Visions du Réel 2020. During the past several years, Lina has acted in three feature films directed by Hafsia Herzi: Hiam Abbass and Rayhana. She is currently developing her second feature documentary and is working as creator and assistant director on fiction, series and documentary projects.

Lina Soualem est une cinéaste et actrice franco-palestinienne-algérienne, née et basée à Paris. Après des études d’histoire et de sciences politiques à l’Université de la Sorbonne, elle a commencé à travailler dans le journalisme et comme programmatrice dans des festivals de cinéma, cherchant à combiner ses intérêts pour le cinéma et l’étude des sociétés arabes contemporaines. Lina a travaillé comme programmatrice pour le Festival international du film sur les droits humains à Buenos Aires et le Festival Palest’In & Out à Paris, entre autres. En 2019, son premier long métrage documentaire, « Leur Algérie », produit par AGAT Films & Cie, a reçu le prix du meilleur doc-in-progress au Doc Corner du Festival de Cannes. « Leur Algérie » a été créé au Festival international du film Visions du Réel 2020. Ces dernières années, Lina a joué dans trois longs métrages réalisés par Hafsia Herzi, Hiam Abbass et Rayhana. Elle développe actuellement son deuxième long métrage documentaire et travaille en tant qu’auteure et assistante réalisatrice sur des projets de fiction, de séries et de documentaires.
 
https://www.youtube.com/watch?v=H-RTHK6m8Xc

Vues d'Afrique 2021. Nancy Kamal : Décolleté de cercueil (Egypt)

Vues d'Afrique 2021
vuesdafrique.org/

Nancy Kamal
Décolleté de cercueil


Nancy Kamal
Décolleté de cercueil
Egypt
2019 - Experimental - 5min

Synopsis
A young girl notices preparations for a wedding at her home. What she did not expect was that it was in fact, her own wedding.
The film highlights the pain of a young Egyptian girl deprived of her right to complete her education and of the innocence of her childhood. (goreecinema.com. Translation from French).

Une jeune fille a remarqué les préparatifs de mariage chez elle. Ce à quoi elle ne s’attendait pas, c’est qu’il allait s’agir de son mariage.
Le film met en lumière les souffrances d'une fille égyptienne privée de son droit de terminer ses études et son enfance innocente. (goreecinema.com)


Bio
Egyptian independent visual artist Nancy Kamal completed her studies in Fine Arts-Animation in 2000 at Helwan University. Her first short film Fried Dreams Against Child Labour was awarded at the International Festival of Alexandria in 2007 and selected at the International Film Festival of Dubaï in 2008. Prix : Canada / Best Short International Film. (Vues d'Afrique).

Artiste plasticienne égyptienne est diplômée de la Faculté des Beaux-arts – département d’animation de bande dessinée – Université d’Helwan 2000. Son premier court métrage « Fried Dreams Against Child Labour » a été primé au Festival International d’Alexandrie 2007 et sélectionné au Festival International du Film de Dubaï 2008. Prix : Canada / Best Short International Film. (Vues d'Afrique).

09 April 2021

Vues d'Afrique 2021. Emilie Tardif : Nora (Morocco)

Vues d'Afrique 2021
vuesdafrique.org/
 
Emilie Tardif
Nora


Emilie Tardif
Nora
Morocco | Maroc
2020 - Fiction - 11min

Synopsis

Mother, in need of attention, Nora is stifling in her daily existence as a woman. In search of freedom, she leads a double life, a life where her daughters and her husband no longer exist. For a weekend, Nora tries hard not to descend into madness.

Mère de famille en demande d’attention, Nora étouffe dans son quotidien de femme. En quête de liberté, elle mène une double vie, une vie où ses filles et son mari n’existent plus. Le temps d’un week-end, Nora tente difficilement de ne pas sombrer dans la folie.

Bio

After completing her university studies in cinema, Emilie Tardif pursued a Master's in directing; at the same time she began writing the scenario for Nora. In addition, she directed the short documentary, Quand ma maman reviendra, during which her sister speaks freely about family and love. 

Après une licence de cinéma à l’Université, Émilie Tardif a eu un Master de réalisation dans cette même faculté. Pendant cette formation, elle a commencé à écrire le scénario de « Nora ». Elle a également réalisé un court documentaire, « Quand ma maman reviendra », où sa soeur parle librement de famille et d’amour. 

08 April 2021

Vues d'Afrique 2021. Gentille M Assih : Sortir de l’ombre | Into the Light (Togo)

Vues d'Afrique 2021
vuesdafrique.org/

Gentille M Assih
Sortir de l’ombre | Into the Light  

Gentille M Assih
Sortir de l’ombre | Into the Light 
Togo/ Canada

2020 - Documentary - 79min

Image: ONF/NFB

Synopsis

Through the strength of women's voices taking power over their lives after suffering from domestic violence, Into the Light highlights the liberating life stories of Quebecois women of West African origin. Beyond prejudices, the film breaks taboos by giving access to a private universe that is little understood, and testifies to the tremendous empowerment that comes with the end of isolation and the beginning of self acceptance. A luminous dive into the heart of a quest towards personal healing, of a universal humanity. This is the third documentary by the Togolese filmmaker. [https://www.onf.ca/cineastes/gentille-m-assih/]
 
Par la force de la parole de femmes reprenant le pouvoir sur leur vie après avoir subi de la violence conjugale, « Sortir de l’ombre » braque la lumière sur les récits de vie émancipateurs de Québécoises inspirantes originaires d’Afrique de l’Ouest. Loin des préjugés, le film brise les tabous en donnant accès à un univers intime méconnu, et témoigne du formidable sentiment de puissance que provoquent la fin de l’isolement et l’acceptation de soi. Une plongée lumineuse au cœur d’une quête de guérison personnelle, d’une humanité universelle. Il s’agit du troisième documentaire de la réalisatrice d’origine togolaise. [https://www.onf.ca/cineastes/gentille-m-assih/]

Bio
 
Author-filmmaker Gentille M. Assih pursued a university education in communication, followed by human resources management, before studying writing and directing creative documentaries. She obtained a master's degree in cinema from UQAM in 2013. In 2009, she directed her first documentary film, Itchombi, produced by Ardèche Images Production. The same year, she produced and directed the short fiction film Bidenam, l’espoir d’un village, with the support of the Goethe-Institut in Johannesburg (Jury Prize at the Vues d'Afrique International Film Festival, Montreal) . In 2010, she completed the documentary Akpéma, which lays the groundwork for the film Le rite, la folle et moi, a story of transmission of a family secret, in which she reveals the weight of traditions and the complexity of African cultures. Released in 2012, Le rite, la folle et moi, among other honors, won the Audience Award for best documentary film at the Cinémas d'Afrique festival in Angers (France). Privileging the personal, her work boldly tackles taboo issues that she does not hesitate to name and tell. While her camera focuses its lens unflinchingly on social issues and ills her writing conveys her resolutely positive vision of the human being. [Vues d'Afrique. Translation from French]

Autrice-réalisatrice, Gentille M. Assih suit une formation universitaire en communication, puis en gestion des ressources humaines, avant d’étudier en écriture et en réalisation de documentaires de création. Elle obtient une maîtrise en cinéma à l’UQAM en 2013. Elle réalise en 2009 son premier film documentaire, « Itchombi », produit par Ardèche Images Production. La même année, elle produit et réalise le court métrage de fiction « Bidenam », l’espoir d’un village, avec le soutien du Goethe-Institut de Johannesburg (Prix du jury du Festival international de cinéma Vues d’Afrique, Montréal). En 2010, elle signe le documentaire « Akpéma », qui jette les bases du film « Le rite, la folle et moi », une histoire de transmission d’un secret de famille, où elle révèle le poids des traditions et la complexité des cultures africaines. Sorti en 2012, « Le rite, la folle et moi » remporte, en plus de plusieurs honneurs, le Prix du public du meilleur film documentaire au festival Cinémas d’Afrique d’Angers (France). Privilégiant le registre de l’intime, son œuvre aborde avec audace des enjeux tabous qu’elle n’hésite pas à nommer et à raconter. Si sa caméra braque sans concession son objectif sur les problématiques et les maux sociaux, sa plume tout en sensibilité traduit sa vision résolument positive de l’humain. [Vues d'Afrique]

https://vimeo.com/477681073

 

Sortir de l’ombre - (Bande-annonce 01m30s) from NFB/marketing on Vimeo.

Vues d'Afrique 2021. Irène Tassembedo : Un jeudi au quartier (one Thursday in the neighborhood) Burkina Faso

 Vues d'Afrique 2021
vuesdafrique.org/
 
Irène Tassembedo
Un jeudi au quartier


Irène Tassembedo
Un jeudi au quartier (one Thursday in the neighborhood)
Burkina Faso
2020 - Fiction - 21 min

Synopsis
Thirteen-year-old Liwane participates in the preparations of the festivities that will take place in the neighborhood during the upcoming Thursday. She unexpectedly comes across her cousin Nafissatou, who is the same age, and learns that the preparations are for her: a forced marriage. Very aware of the importance of education of girls her age, powerless and outraged, Liwane witnesses her cousin's plight. (Text Vues d'Afrique. Translation from French)

Agée de 13 ans, Liwane participe ce jeudi-là aux préparatifs d’une fête qui a lieu au quartier. Brusquement, on s’empare de sa cousine du même âge et elle comprend que c’est le mariage forcé de Nafissatou qu’on préparait. Soucieuse de l’éducation des filles de son âge, impuissante et révoltée, Liwane assiste au drame de sa cousine…(Texte: Vues d'Afrique)

Bio
Internationally-known choreographer, Irène Tassembedo, is an important figure of contemporary African dance. She has progressively widened her activities to include musical comedies and the theater, and more recently film directing. (Text Vues d'Afrique. Translation from French).

Chorégraphe de renommée internationale, Irène Tassembedo est l’une des figures majeures de la danse africaine contemporaine. Elle a progressivement élargi son activité à la mise en scène de comédies musicales et de théâtre, puis à la réalisation cinématographique. (Texte: Vues d'Afrique)
 

Vues d'Afrique 2021. Samirath Mansah : Envers et contre tout (Against all odds) Bénin

Vues d'Afrique 2021
vuesdafrique.org/

Samirath Mansah
Envers et contre tout
 
Samirath Mansah
Envers et contre tout (Against all odds)
Bénin
2020 - Fiction - 11 min

Synopsis
Ella, a young woman who is a rape survivor, wants to lay charges against the aggressor. However, she is confronted with the opposition of her parents and a denunciation which jeopardizes her romantic relationship with Luc; since the perpetrator is a person very close to them…

Ella est une jeune femme victime de viol. Elle souhaite porter plainte contre son agresseur mais va devoir se confronter à l’opposition de ses parents. Une dénonciation qui met en péril sa relation amoureuse avec Luc, car le violeur se trouve être une personne très proche d’eux…

Bio
Samirath Mansah, Beninois, is the laureate of the winning film of the 7 jours pour 1 film (7 days for 1 film) project organized in Benin in December 2020. [Read also: https://africanwomenincinema.blogspot.com/2020/02/2020-laureates-7-jours-pour-1-film-7.html]

Samirath Mansah, béninoise, est la lauréate du film vainqueur de l'opération 7 jours pour 1 film organisée en décembre 2020 au Bénin. [Lire aussi: https://africanwomenincinema.blogspot.com/2020/02/2020-laureates-7-jours-pour-1-film-7.html]

https://www.youtube.com/watch?v=6ZYoR9Igg8A

07 April 2021

Vues d'Afrique 2021. Fatoumata Diallo : La dernière danse (The last dance) Senegal

Vues d'Afrique 2021
vuesdafrique.org/
 
Fatoumata Diallo
La dernière danse


Fatoumata Diallo
La dernière danse (The last dance)
Senegal
2020 - Fiction - 13 min

Synopsis
Noor is dying. She hears a voice proposing a choice among three propositions which will end at midnight. With the help of her best friend Oumar who comes to visit her, she takes on the challenge, which will disrupt their life forever.

La dernière danse is the winning film of the 7 jours pour 1 film (7 days for 1 film) project organized in Senegal in 2020 in partnership with the festival Films Femmes Afrique. [Read also: https://africanwomenincinema.blogspot.com/2020/02/2020-laureates-7-jours-pour-1-film-7.html]

Noor est mourante. Elle reçoit la visite d’une voix qui lui propose un choix parmi 3 propositions qui arrivent à terme à minuit. Avec l’aide de son meilleur ami Oumar qui vient lui rendre visite, elle s’attèle à la tâche. Cela bouleversera leur vie à jamais.

« La dernière danse »  est le film vainqueur de l'opération 7 jours pour 1 film organisée au Sénégal en 2020 en partenariat avec le festival Films Femmes Afrique. [Lire aussi: https://africanwomenincinema.blogspot.com/2020/02/2020-laureates-7-jours-pour-1-film-7.html]


Bio
Fatoumata Diallo, better known under the pseudonym Zahra, lives in Tambacounda, Senegal. She has a passion for writing and cinema. As a militant feminist, she uses art to affirm her position on certain key questions regarding Senegalese society, which is still very patriarchal. She presents her vision of certain issues in her novels, scripts and clothing designs in order to participate in the evolution of local attitudes which continue to be entrenched in ancestral values--though not negative, there is a need to evolve. (Source: africine.org. Translation from French).

Fatoumata Diallo vit à Tambacounda au Sénégal. Mieux connue sous le pseudonyme de Zahra, elle est passionnée par l'écriture et le cinéma. En tant que militante féministe, elle utilise l'art pour affirmer ses positions sur certaines questions clés de la société sénégalaise encore très patriarcale. Elle donne sa vision sur certaines questions à travers ses livres, ses scénarios ou les vêtements qu'elle dessine afin de participer à l'évolution de mentalités locales encore très attachées aux valeurs ancestrales et qu'elle ne considère pas forcément comme mauvaises mais pour faire évoluer. (Source: africine.org)
 
https://www.youtube.com/watch?v=Mmto6bG-I2w

Vues d'Afrique 2021. Randi Maroufi : Bab Sebta (Morocco)

Vues d'Afrique 2021
vuesdafrique.org/
 
Randi Maroufi
Bab Sebta

Randa Maroufi
Bab Sebta (Ceuta’s gate)
France / Maroc | Morocco
2019 - 20 min - Experimental

Source: randamaroufi.com


Synopsis
Bab Sebta (Ceuta’s gate) consists of a series of reconstructed situations based on observations made on the border of Ceuta, a Spanish enclave on Moroccan soil providing the scene for an intense trafficking of manufactured goods, sold at discounted prices. Every day, thousands of people work there.


Bab Sebta est une suite de reconstitutions de situations observées à la frontière de Ceuta, enclave espagnole sur le sol marocain. Ce lieu est le théâtre d’un trafic de biens manufacturés et vendus au rabais. Des milliers de personnes y travaillent chaque jour.

Bio

Born in 1987 in Casablanca. She currently lives and works in Paris.
Randa Maroufi is a graduate of the National Institute of Fine Arts, Tetouan, Morocco (2010) and the School of Fine Arts, Angers, France (2013). She also earned a diploma from Le Fresnoy – Studio National des Arts Contemporains, Tourcoing, France (2015). Randa Maroufi has been Artist Member of Academy of France in Madrid – la Casa de Velázquez in 2017 – 2018.


Née en 1987 à Casablanca. Vit et travaille à Paris.
Randa Maroufi est diplômée de l’Institut National des Beaux-Arts de Tétouan, Maroc (2010), de l’École Supérieure des Beaux- Arts d’Angers, France (2013) ainsi que du Fresnoy – Studio National des Arts Contemporains, Tourcoing, France (2015). Randa Maroufi était membre artiste de l’Académie de France à Madrid – la Casa de Velázquez en 2017 – 2018.
 
https://www.youtube.com/watch?v=DU5QHdwnxhM

03 April 2021

Recent films. Aicha Macky: Zinder (Niger)

Recent films. Aicha Macky: Zinder

Aicha Macky
Zinder
Niger
Documentary - 2021 - 82min


Synopsis
« Sans emploi, sans espoir, ils attendent l’occasion de quitter le pays… Ces jeunes gens gonflent les rangs des gangs qui sèment la violence à Zinder (Niger), ma ville natale. La plupart sont des enfants de lépreux, nés hors du système de santé. Ils n’ont pas été déclarés à la naissance, et ils sont privés du droit à l’éducation. Personne ne les remarque, jusqu’au jour où ils se rebellent. On les appelle les In-Palais. Ils imitent les cadors des ghettos noirs américains : de lourdes chaînes autour du cou, ils se pavanent dans leurs T-shirts à l’image de stars hollywoodiennes et leurs saggings délavés. Ils se font remarquer de diverses manières, spectaculaires et tragiques, nourrissant le climat de peur et d’hystérie qui règne à Zinder. Sinia Boy, Bawo et Ramsess m’accompagnent dans le monde des gangs et des zones de non-droit. Ensemble, nous tentons de comprendre la spirale des événements dans laquelle ces jeunes gens semblent piégés. Ceux que j’ai décidé de suivre veulent plus que l’avenir qu’on leur destine. » Aicha Macky [Source: https://www.3continents.com/fr/film/zinder/]

***

“Unemployed, without hope, and many looking to leave the country for want of better options… Young men are swelling the ranks of gangs that sow violence in Zinder, my home town, in Niger. The majority are the children of lepers, born outside the healthcare system. Their births were unregistered and they have been deprived of their right to an education. They go unnoticed, until the day that they rebel. Locally, they are known as the “In Palais”. They style themselves after black American hotshots from the ghettos: heavy chains around their necks, T-shirts bearing images of Hollywood stars, strutting around in low-slung faded jeans. They make themselves known in various spectacular, and sometimes tragic, ways, feeding the climate of fear and hysteria in Zinder. Sinia Boy, Bawo and Ramsess accompanied me into this world of gangs and no-go neighbourhoods. With them, we will reach a clear understanding of the spiral of events in which these young men appear to be trapped. The individuals that I have chosen to follow in this film want better than the future that is lined up for them.” Aicha Macky [Source: https://www.3continents.com/en/film/zinder/]

31 March 2021

African Women Arts and Film Festival 2021 - AWAFFEST Virtual - Tanzania

African Women Arts and Film Festival 2021 - AWAFFEST Virtual - Tanzania

AWAFFEST is a platform to appreciate arts and stories of African women; to celebrate female practitioners; and to empower aspiring artists and filmmakers.

awaffest: http://awaffest.org/

Streaming on April 1

Follow events on Facebook : https://www.facebook.com/awaffest/


 

25 March 2021

African Diaspora International Film Festival 2021 - Women's History Month Film Series (Virtual) March 26 to 29 2021 - Virtual

African Diaspora International Film Festival
Women's History Month Film Series
Virtual Edition
March 26 to 29 2021

https://nyadiff.org/

 
 
Women's History Month Film Series Line-Up

Fictions

Losing Ground - The Cruz Brothers - Miss Malloy by Kathleen Collins (USA)

Angelica by Marisol Gómez-Mouakad (Puerto Rico)

Myopia by Sanae Akroud (Morocco)

Foreign Body by Raja Amari (Tunisia)

Made in Bangladesh by Rubaiyat Hossain (Bangladesh)

Cape Verde My Love by Ana Ramos Lisboa (Cape Verde)

Stand Down Soldier by Jeryl Prescott Sales (USA)

Documentaries

Betrayal of a Nation by Brandi Webb (USA)
How It Feels to be Free by Yoruba Richen (USA)

Barrow, Freedom Fighter by Marcia Weekes (Barbados)

The Glass Ceiling by Yamina Benguigui (France)
She Had a Dream by Raja Amari (Tunisia)
Amilcar Cabral by Ana Ramos Lisboa (Cape Verde)

Colobane Express and The Silent Monologue by Khady Sylla (Senegal)

Shorts

But You’re Not Black by Danielle Ayow
White Like The Moon
 by Marina Gonzalez Palmier (Canada | USA)

24 March 2021

Femme, cinéma et valorisation du patrimoine culturel au Cameroun | Women, cinema and the cultural heritage preservation of Cameroon - Conférence

Femme, cinéma et valorisation du patrimoine culturel au Cameroun
Organisé conjointement par l'Adamic et Le Musée National
24 mars 2021 au Musée National Museum Yaoundé

Women, cinema and the cultural heritage preservation of Cameroon. Co-organized by Adamic [Association of Cameroonian women of the image) | Association des Dames de l’Image au Cameroun] and the National Museum Yaoundé

See link regarding ADAMIC on the African Women in Cinema Blog : https://africanwomenincinema.blogspot.com/2018/07/adamic-association-of-cameroonian-women.html


20 March 2021

Recent Films. Raja Amari: She Had a Dream | Ghofrane et les promesses du temps - Tunisia

Raja Amari
She Had a Dream | Ghofrane et les promesses du temps

Documentary
Tunisia - 2020 - 90mins


Source: unifrance.org

Synopsis

Ghofrane, 25, is a young Black Tunisian woman. A committed activist who speaks her mind, she embodies Tunisia's current political upheaval. As a victim of racial discrimination, Ghofrane decides to go into politics.

We follow her extraordinary path, ranging from acting on her ambition to disillusion. Through her attempts to persuade both close friends and complete strangers to vote for her, her campaign reveals the many faces of a country seeking to forge a new identity.

In its own unique way, this documentary sheds light on women's place in Tunisia's changing society.

Ghofrane est une jeune femme noire de 25 ans, incarnant par ses engagements et sa liberté d’expression l’effervescence politique de la Tunisie d’aujourd’hui. Victime de discriminations raciales, elle décide de s’engager en politique au cours d’une année électorale cruciale pour son pays.
 
Entre ambitions et désillusions, nous suivons le parcours de Ghofrane, dont le chemin est parfois trébuchant. Cherchant à convaincre son entourage comme les inconnus qui croisent son chemin militant, la campagne électorale de Ghofrane nous révèle les multiples visages d’un pays qui se cherche.

Ce documentaire offre un éclairage unique sur le racisme en Tunisie, et la place des femmes dans une société tunisienne en pleine mutation.




14 March 2021

César 2021. Sofia Alaoui, laureate: le César du meilleur court métrage pour «Qu'importe si les bêtes meurent» | the César for the best short film for "So What if the Goats Die"

César 2021. Sofia Alaoui, laureate: le César du meilleur court métrage pour «Qu'importe si les bêtes meurent» | the César for the best short film for "So What if the Goats Die"

La réalisatrice franco-marocaine Sofia Alaoui remporté le César du meilleur court métrage pour «Qu'importe si les bêtes meurent», produit avec l’aide du Centre cinématographique marocain (CCM).

Franco-Moroccan director Sofia Alaoui wins the César for Best Short Film for "So What if the Goats Die", produced with the help of the Moroccan Cinematographic Center (CCM).

Synopsis

Dans les hautes montagnes de l’Atlas, Abdellah, un jeune berger et son père, sont bloqués par la neige dans leur bergerie. Leurs bêtes dépérissant, Abdellah doit s’approvisionner en nourriture dans un village commerçant à plus d’un jour de marche. Avec son mulet, il arrive au village et découvre que celui-ci est déserté à cause d’un curieux événement qui a bouleversé tous les croyants.

High in the Atlas Mountains, the young shepherd Abdellah and his father are hemmed in by snow at their goat pen. Their animals are wasting away. Abdellah must go to find supplies at a market village more than a day's walk away. When he arrives with his mule, he finds the village abandoned due to a strange event that has wreaked havoc on the lives of all believers.

13 March 2021

Super Sema. An Afro-futuristic animation series: Time to Change the World

Super Sema. An Afro-futuristic animation series: Time to Change the World

Source: Super Sema: https://www.supersema.com/

Super Sema follows the world-changing adventures of an extraordinary young girl Sema and her twin brother MB on their mission to protect their African town of Dunia from the villainous Tobor. Sema knows that with determination, creativity, and a helping hand from the amazing world of science and technology, anything is possible!

Set in an Afro-futuristic world, Super Sema is an exciting roller coaster of daring adventures, STEM inventions and kid-power to save the village from a heartless AI Robot.

12 March 2021

African Women Journalists: Critical Engagements in African Cinemas

African Women Journalists: Critical Engagements in African Cinemas


Image: Poster of Mère-bi, a film by Ousmane William Mbaye

At the eve of African cinemas south of the Sahara, African women journalists have been at the forefront of film criticism and activism in the development of a cinema culture on the continent and the diaspora.

Senegalese Anne Mbaye d’Erneville studied journalism in Paris in the 1950s, returning to her country at the eve of independence to found a variety of cultural bodies among which include a cinema culture that has laid the foundation for contemporary cultural infrastructures. Her influences in cinema culture have spanned radio, print and television journalism and beyond. The emergence of the Dakar-based French-language women’s magazine, Awa, initially launched by Annette Mbaye d’Erneville in 1957 under the name Femmes de Soleil is an example of the early engagement of African women at the intersection of gender and culture. The first written works regarding African women in film were journalistic in nature, with photographs and short profiles of women television presenters and the first African actresses of the nascent African cinema. These reports published in 1966 and 1972 were included in the Senegal-based French-language women’s magazine Awa, la revue de la femme noire (1964-1973).

Moreover, Annette Mbaye d’Erneville was the director of RECIDAK, Rencontres cinématographiques de Dakar for many years. An annual film festival that she initiated in 1990 and with which she continues to have close ties. The 1996 edition of RECIDAK, Femmes et Cinéma (Women and Cinema) paid homage to African women. She was also a founding member of the Association Sénégalaise des Critiques de Cinéma (ASSECCI) created by filmmaker and critic Paulin Soumanou Vieyra and journalist Djib Diedhiou. Also one of the founders of the women’s movement in Senegal, Annette Mbaye d’Erneville’s pioneering feminist voice reverberates within diverse cultural milieux, notable cinema, where she has been a seminal figure in the development of the Senegalese public as cultural readers.

Cameroonian Thérèse Sita Bella (1933-2006), who held many functions as a journalist, is most widely known for Tam Tam à Paris, a 30-minute film that she directed in 1963; documenting the National Dance Company of Cameroon during its tour in the French capital. After the production of the film, while in France, Thérèse Sita Bella continued her work as journalist during which she participated in the creation of several African-focused cultural initiatives. She returned to Cameroon in 1967, working in various culture and cinema related positions.

Amina le magazine de la femme africaine et antillaise, also a French-language magazine, created in 1972, initially based in Dakar and later in Paris in 1975, has an early and present history of featuring profiles and interviews of filmmakers, actors, producers, stakeholders and other professionals in cinema. In its pages, Guinean editor-in-chief Assiatou Bah Diallo has played an important role in the promotion of women of the moving image.

Jihan El-Tahri worked for sometime as a journalist for many prominent news agencies but gradually found her interest in documentary filmmaking as a means to explore her subject more deeply. She had this to say about her move towards the documentary:
"I realized that as journalist we do not have the time to look into what is actually happening. We have deadlines everyday so you just skim the surface constantly and you don’t get to the bottom of what this is all about. And that is why I chose documentary.  Because documentary was about taking the time to look into a topic that is close to your heart and really looking at it in an angle that you choose. And doing the research and taking the time and formulating it in a way that is your own expression. Where as a journalist, there are so many constraints in terms of space, the number of words, when your editor wants it, who’s going to edit it back there. So this was not what I was looking for. What I was looking for was a mode of expression and that I obviously didn’t find in journalism."

Throughout the continent a cohort of women are actively engaged in film journalism following the footsteps of these trailblazing women who have come before them. The African Women in Cinema Blog has featured several of these journalist activists:

Hortense Assaga created the magazine Cité Black Paris, hosts several cultural programs and regularly reports on cultural events for Africa 24 and Canal+ Afrique. Togolese film critic Sitou Ayité wears multiple hats as producer, scriptwriter and director. Amina Barakat from Morocco, navigates the local film culture scene as well as throughout the continent. Franco-Burkinabé Claire Diao traverses an array of transmedia networks: podcasts, audio-visual programming, itinerant film curation, and diverse print media. Cameroonian journalist Stéphanie Dongmo, blogger, president of the Cameroon chapter of CNA, Cinema Numerique Ambulant, the extensive network of mobile cinema in Africa and Europe, is also a novelist. Falila Gbadamassi, journalist, film critic and social media editor, informs and wants to be informed about Africa in particular. From Nollywood to Bollywood via Hollywood, she is both a film enthusiast and critic. She writes for Africiné Magazine (Dakar), among other media. France-based independent journalist Amanda Kabuiku collaborates with several publications. Belgo-Congolese Djia Mambu keeps a visible presence at the important network of African film festivals, Cannes and beyond. Cameroonian journalist and film critic Pélagie Ng'onana is an editor at the Dakar-based Africiné Magazine and collaborates with the Yaoundé-based cultural revue Mosaïques. Senegalese Fatou Kiné Sene is general secretary of the Senegalese Film Critics Association. The goal of Senegalese Fatou Warkha, creator of the online television channel Warkha TV is to change attitudes and laws, giving a face and voice to everyone who has been forgotten by the authorities.

Report by Beti Ellerson
 
Following are articles published on the African Women in Cinema Blog by this growing cohort of journalists. (The post will be updated to include additional names and links).



 
Hortense Assaga
https://africanwomenincinema.blogspot.com/2020/06/conference-du-pavillon-des-cinemas.html

Sitou Ayité
https://africanwomenincinema.blogspot.com/2011/03/mis-me-binga-international-womens-film.html

Amina Barakat
https://africanwomenincinema.blogspot.com/2012/12/asmae-el-moudir-filmmaking-has-been-my.html
https://africanwomenincinema.blogspot.com/2012/09/report-on-6th-edition-of-international.html

Claire Diao
https://africanwomenincinema.blogspot.com/2017/05/claire-diao-double-vague-le-nouveau.html
http://africanwomenincinema.blogspot.fr/2016/04/claire-angele-nadia-pocas-rama-inen.html
http://africanwomenincinema.blogspot.fr/2016/03/claire-diao-interview-bypar-stefania.html
https://africanwomenincinema.blogspot.com/2014/09/examining-past-to-envision-future.html
http://africanwomenincinema.blogspot.com/2014/10/a-gang-of-what-bande-de-quoi-bypar.html

Stéphanie Dongmo
https://africanwomenincinema.blogspot.com/2014/09/nadine-otsobogo-public-is-shy-about.html
https://africanwomenincinema.blogspot.com/2014/09/examining-past-to-envision-future.html
https://africanwomenincinema.blogspot.com/2012/12/the-cinema-of-women-from-francophone.html
http://africanwomenincinema.blogspot.com/2012/12/brigitte-rollet-african-women_20.html

Falila Gbadamassi
https://africanwomenincinema.blogspot.com/2019/05/mati-diops-atlantique-in-foam-of.html
https://africanwomenincinema.blogspot.com/2019/05/cannes-2019-maimouna-ndiaye-member-of.html
https://africanwomenincinema.blogspot.com/2019/05/papicha-mounia-meddour-in-resistance.html
https://africanwomenincinema.blogspot.com/2019/05/mati-diop-it-was-very-important-for-me.html
https://africanwomenincinema.blogspot.com/2018/05/cannes-2018-sofia-byde-meryem-benmbarek.html
https://africanwomenincinema.blogspot.com/2018/05/rafiki-to-our-forbidden-love-nos-amours.html

Amanda Kabuiku
https://africanwomenincinema.blogspot.com/2014/05/gang-of-chicks-bande-de-meufs-analyse.html

Djia Mambu
https://africanwomenincinema.blogspot.com/2019/05/djia-mambu-journalist-and-film-critic.html
https://africanwomenincinema.blogspot.com/2016/08/djia-mambu-black-pourquoi-mavela-et-pas.html
https://africanwomenincinema.blogspot.com/2016/04/djia-mambu-alices-diops-towards.html
https://africanwomenincinema.blogspot.com/2016/02/djia-mambu-africine-meanwhile-theyre.html
https://africanwomenincinema.blogspot.com/2015/10/djia-mambu-best-actress-award-for-much.html
https://africanwomenincinema.blogspot.com/2015/01/and-what-film-editor-she-is-interview.html
https://africanwomenincinema.blogspot.com/2015/01/interview-with-actress-prudence-maidou_29.html
https://africanwomenincinema.blogspot.com/2014/10/remembering-khady-sylla-djia-mambu.html
https://africanwomenincinema.blogspot.com/2014/04/femmes-de-cinema-cinema-de-femmes-women.html

Pélagie Ng'onana
https://africanwomenincinema.blogspot.com/2017/06/mis-me-binga-2017-womens-cinema.html
https://africanwomenincinema.blogspot.com/2019/01/nejib-ayed-le-cinema-est-un-vrai-mur.html

Fatou Kiné Sene
https://africanwomenincinema.blogspot.com/2013/03/mois-du-cinema-au-feminin-women-in.html
https://africanwomenincinema.blogspot.com/2015/04/sur-la-rive-on-shore-byde-mariama-sy.html
https://africanwomenincinema.blogspot.com/2019/11/mame-woury-thioubou-5-etoiles-un-recit.html

Fatou Warkha
https://africanwomenincinema.blogspot.com/2020/02/tv5monde-warkhatv-briser-le-silence-des.html
 

07 March 2021

Berlinale 2021. Alice Diop : We | Nous - Winner of Best Film in Encounters | Primée à la Berlinale

Berlinale 2021. Alice Diop: We | Nous  
Winner of Best Film in Encounters |
 Primée à la Berlinale

Image: unifrance.org

The award for Best Film in Encounters goes to "We" (Nous) by Alice Diop. Source: Berlinale

La cinéaste Alice Diop, lauréate du Grand prix Encounters de la Berlinale 2021 pour son documentaire "Nous" (We à l’international) ! Inspirée par Les Passagers du Roissy Express de François Maspero, paru en 1989, la réalisatrice originaire d’Aulnay-sous-Bois a repris le RER B avec sa caméra au poing pour y documenter les changements de la banlieue parisienne, 30 ans après. Source: https://lemag.seinesaintdenis.fr/Alice-Diop-primee-a-la-Berlinale-2021

Synopsis

The RER B is an urban train that traverses Paris and its environs from north to south. Multi-award-winning documentary filmmaker Alice Diop takes us through these suburban spaces and confronts us with some of the faces and stories of which they are composed.

A moving testament to the importance of filming as a process of bearing witness and remembering, Nous is timely in many ways. It is subtle and shrewd in a world that favours shortcuts and easy answers. Justifiably adopting the fragmented structure of a patchwork portrait in order to describe a riven society, Diop displays impressive control of her essay and its impact. In the film’s first few minutes, a deer is observed, through binoculars. A certain sense of awkward, man-made distance stays with us. Isolation, discrimination and nostalgia for hierarchies, inherited from a monarchical past … Divisions haunt France’s present. But the human urge to give as well as to receive stubbornly creeps into every situation, observed or triggered. Could this be the one thing that still keeps a nation together? Source: YouTube

Une ligne, le RER B, traversée du nord vers le sud. Un voyage à l'intérieur de ces lieux indistincts qu'on appelle la banlieue.

Des rencontres : une femme de ménage à Roissy, un ferrailleur au Bourget, une infirmière à Drancy, un écrivain à Gif-sur-Yvette, le suiveur d'une chasse à courre en vallée de Chevreuse et la cinéaste qui revisite le lieu de son enfance.  Chacun est la pièce d'un ensemble qui compose un tout. Un possible "nous". Source: unifrance.org
 
 

06 March 2021

Cascade Festival Of African Films (2021): After film discussion for "Finding Sally" with Tamara Mariam Dawit

Cascade Festival Of African Films (2021)
After film discussion for Finding Sally with Tamara Mariam Dawit

Tamara Mariam Dawit
Ethiopia/Canada
Finding Sally
Documentary - 2020 - 78min

This film is a personal investigation into the mysterious life of the director’s Aunt Selamawit, also known as Sally, who joined the Ethiopian People’s Revolutionary Party and then disappears. In the process the film covers the history of Ethiopia from the downfall of Emperor Haile Selassie through two decades of Communist military dictatorship under Haile Mengistu, the Derg and the reign of Red Terror, to the present time. What makes this documentary especially moving is that the director tells this history through the lives of three generations of the Dawit family who lived and suffered through it. (Source: africanfilmfestival.org)

After film discussion for Finding Sally with Tamara Mariam Dawit 

 

https://www.youtube.com/watch?v=fCBS4YGlWEY

05 March 2021

Cascade Festival Of African Films 2021: Interview with Manele Labidi director of "Arab Blues"

Interview with Manele Labidi director of "Arab Blues"

Manele Labidi
Tunisia
Arab Blues | Un divan à Tunis
Comedy, Drama - 88min - 2019


After 10 years of living in Paris, Selma, a psychoanalyst, returns to Tunisia to open her own practice. In this lighthearted comedy, film director Manele Labidi opens a fascinating window into modern Tunisia at a crossroads, with a story of contrasts, contradictions and culture clashes, full of vitality and humor. As Selma tries to settle in, she faces increasing complications that she couldn’t have predicted, along with a cast of colorful clients.

Interview with Manele Labidi director of "Arab Blues"

https://www.youtube.com/watch?v=5Sru0vfojYc

Cascade Festival Of African Films 2021: Discussion with Shameela Seedat, director of "Whispering Truth to Power"

Cascade Festival Of African Films 2021: Discussion with Shameela Seedat, director of Whispering Truth to Power
 
Shameela Seedat
South Africa/Netherlands
Whispering Truth to Power, 2018
Documentary


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 drama — Madonsela 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.”

After Film Discussion for: Whispering Truth to Power
Renate Ray Mayer moderates a discussion with film director Shameela Seedat
 
https://www.youtube.com/watch?v=SA33Yy_6FNk

04 March 2021

Table Ronde/Roundtable: Star-system et feminité dans les cinéma camerounais : Quelle femme pour quel cinéma ? | Women and the star-system in Cameroonian cinema: Which woman for which cinema? - 05 mars/March 2021

Table Ronde/Roundtable:
Star-system et feminité dans les cinéma camerounais |
Women and the star-system in Cameroonian cinema :
Quelle femme pour quel cinéma ?  | Which woman for which cinema? Mars/March 05
 
En prélude à la journée internationale des droits de la femme qui est célèbrée chaque année à travers le monde, l'Adamic (Association des dames de l'image du Cameroun) organise une série d'activités à partir du vendredi 5 mars 2021 au Musée National. Table ronde et ateliers de formation entre autres: amoureux du cinéma, amateurs et professionals.

As a prelude to the International Women's Rights Day which is celebrated every year worldwide, the Adamic (Association of Women of the Moving Image of Cameroon) is organizing a series of activities starting on Friday March 5, 2021 at the National Museum. Round table and training workshops among other activities: cinema lovers, film enthusiasts and professionals.
 
Source: Adamic Facebook

 

New York African Film Festival 2021: "Time is on Our Side", Conversation with Katy Léna N'diaye

New York African Film Festival 2021
Time is on Our Side 
Conversation with Katy Léna N'diaye

Katy Léna N'diaye
Senegal/Belgium
Time is on Our Side
Documentary - 2019 - 67min
Belgium/Senegal/Burkina Faso

Source: New York African Film Festival [https://www.maysles.org/calendar/2021/2/2/nyaff-28-mane-wwfbp]

In 2014, what the people of Burkina Faso wouldn’t dare imagine for decades suddenly became their new reality: the unyielding protests by the Burkinabè against Blaise Compaoré brought a forceful end to his 27 year dictatorship. Among the uprising’s most instrumental voices is Smockey, rapper and co-founder of Balai Citoyen, a movement of artists calling on youth to join the resistance. During the transitional period ushering in a democratically elected president, Smockey anticipates the tension between uncertainty and hope through political activism and the soundtrack of his socially conscious music.

'Time is on Our Side' director, Katy Léna N'diaye joins filmmaker, art historian and scholar, Manthia Diawara in a conversation about the film
 
 
 

New York African Film Festival 2021: In the Footsteps of Mamani Abdoulaye in conversation with Amina Abdoulaye Mamani

New York African Film Festival 2021:
"In the Footsteps of Mamani Abdoulaye"
in conversation with Amina Abdoulaye Mamani

Amina Abdoulaye Mamani
Niger
In the Footsteps of Mamani Abdoulaye
Documentary - 2018 - 63min (France/Burkina Faso)


 
Source: New York African Film Festival [https://africanfilmny.org/films/in-the-footsteps-of-mamani-abdoulaye/]

In her quest to piece together a past of a father she barely knew and reclaim his place in Niger’s official history, the director of this personal documentary candidly poses the question: “Who still remembers Abdoulaye Mamani?” A 10 year filmmaking process involving in-depth research and interviews reveals that while Mamani is perhaps best known for his literary contributions as a poet and novelist, he was also a righteous trade union organizer, journalist, and dynamic politician with a lifelong commitment to the freedom and independence of his country.

Filmmaker Amina Abdoulaye Mamani, joins filmmaker and producer, Mamadou Niang in a conversation about the film
 
 

02 March 2021

WILD TRACK SPECIAL: The Picture My Life Project (PML) Women's audiovisual narratives contribute to eradicating Violence against Women and Girls in Zimbabwe

WILD TRACK SPECIAL

The Picture My Life Project (PML)

Women's audiovisual narratives contribute to eradicating Violence against Women and Girls in Zimbabwe

PRESS RELEASE

GBV Edition
post: P.O. BOX BW 1550, Harare
email: info@icapatrust.org
phone: +263 242 862 355

To start off 2021 ICAPA Trust is pleased to publish this special Picture my Life Newsletter.
 
The Picture My Life Programme continued in 2020, at a time when GBV cases increased due to the Covid-19 related lockdown in Zimbabwe.
 
PICTURE MY LIFE 2020
 
Women's audiovisual narratives contribute to eradicating
Violence against Women and Girls in Zimbabwe

The Picture My Life Project (PML) created and used audio-visual content to upscale the '#MeToo' Campaign in Zimbabwe, as well as also campaigning against other forms of injustices that women are confronted with.

24 February 2021

New York African Film Festival 2021: Amina Weira discusses "La Colère dans le vent | Anger in the Wind"

New York African Film Festival 2021: Amina Weira discusses "La Colère dans le vent | Anger in the Wind"
 
From her studio, Amina Weira discusses her trajectory into filmmaking, her experiences with making the film Anger in the Wind (2016), about the impact on the environment and the population of Arlit confronted with the exploitation of the uranium by the mining company Areva.
 
"When I went to visit the mines with my father…what I saw disturbed me…I discovered…the dangers associated with this activity, environmental and health-wise. In particular the exposure to radioactivity...I realized that the mine emits radioactivity which is harmful to our health…"
 
"It was to express anger through the wind, the anger of the population…but it is the extent of the danger that awaits the population…and the violence of the wind is the sandstorm which comes to invade the whole city…"
 
Image: Screen capture
YouTube: https://www.youtube.com/watch?v=7Opy-g8a5kk 

23 February 2021

30 Years Moving Forward: The Professionalization of African Women of the Moving Image

30 Years Moving Forward: The Professionalization of African Women of the Moving Image

2021 marks the 30-year anniversary of the historic meeting of African women film professionals held at the 12th edition of Fespaco in Ouagadougou. In 1991, as part of the festival programme, the gathering was organized under the title "Women, Cinema, Television and Video in Africa”.

The principle objectives were: to establish an environment to exchange views, to create a framework for free expression, to elaborate an action program, to fast-track women’s integration at all levels of the cinematic process, to present a woman’s perspective of the world, to have power over their own images, to mobilize funds and human resources.

During this historic meeting the participants formulated strategies for the professionalization of African women of the moving image and for effective leadership as directors, producers, organizers, actors, critics and other filmmaking professionals. Hence, setting in motion the groundwork for what would become the visual media network called L'Association des femmes africaines professionnelles du cinéma, de la télévision et de la vidéo/The Association of Professional African Women in Cinema, Television and Video.

The momentum of this moment forged an enduring movement, cultivating an African women’s cinema culture throughout these past three decades; towards the empowerment of women in all realms on the cinematic landscape. The concretization of many of these ideas provided the requisite tools for their implementation on local, regional, continental and international levels. The fruits of these efforts are particularly visible in the institutions that form the future generations of professionals of visual media. Moreover, the recent initiatives from Africa of the past several years demonstrate both the potentially important role of the Internet, social media and new technologies, and the genuine effort to galvanize this energy in order to globalize the experiences of African women of the moving image.

 Image: Poster of the 1991 Women's Meeting, from the African Women in Cinema Collection

18 February 2021

Aïssa Maïga: "Regard Noir" about representation of Black Women on the Screen | La representation des femmes noires à l'écran - March 16 on Canal+


Aïssa Maïga: "Regard Noir" about representation of Black Women on the Screen | La representation des femmes noires à l'écran - March 16 on Canal+

En français : bfmtv.com Aïssa Maïga sort un documentaire [https://www.bfmtv.com/people/cinema/aissa-maiga-sort-un-documentaire-sur-la-representation-des-femmes-noires-a-l-ecran_AN-202102180161.html]

Activist and actress Aïssa Maïga passes behind the camera with her first film "Regard Noir", co-directed with Isabelle Simeoni. The film journeys to Brazil, the USA and France tracing the representation of black women on the screen. Broadcast on Canal+, the film debuts on March 16.

Image: lemediaplus

Read also on the African Women in Cinema Blog

Influential Women – Aïssa Maïga, Actress: "Read. Think. Create." An interview by Pamela Pianezza
https://africanwomenincinema.blogspot.com/2013/07/influential-women-aissa-maiga-actress.html

Être actrice noire en France: (dé)jouer les imaginaires par/by LUCIE ANDRÉ [To Be a Black Actress in France: (un)playing imaginaries]
https://africanwomenincinema.blogspot.com/2020/02/etre-actrice-noire-en-france-dejouer.html

17 February 2021

Dolapo Adeleke's "Just in Time" on Netflix, March 2021

 
Dolapo Adeleke's Just in Time on Netflix

Just in Time, written, directed and co-produced by Nigerian filmmaker Dolapo "LowlaDee" Adeleke, premieres on Netflix in March 2021. The comedy drama, shot in Nairobi, features Kenyan actress, Sarah Hassan who is the producer.
 
Dolapo Adeleke directed the popular romantic comedy Plan B, broadcast on YouTube as a Valentine Movie Special in 2019, produced by Sarah Hassan.
 
In 2016 she directed her first mini-series This Is It, bringing together a Nigerian and Kenyan cast. With YouTube as its broadcast platform, it has garnered millions of views.
 
Dolapo Adeleke is the CEO/Founder of LowlaDee Originals Inc. and the Cofounder of Giraffe Productions, Nairobi.

Plan B on YouTube [https://www.youtube.com/watch?v=d1Hii5thnhI]

This Is It on YouTube [https://www.youtube.com/watch?v=erxLaRHHPhY]