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

18 October 2021

Anne-Bertille Ndeysseit Vopiande: Boyi-biyo (double poumon) | Meat Pusher - FESPACO 2021


FESPACO 2021
Short documentary in competition

Anne-Bertille Ndeysseit Vopiande
Boyi-biyo (Double Poumon) | Meat Pusher
République centrafricaine | Central African Republic
28min - Documentary - 2020


 
 
Synopsis
Shilo is a meat courier. His job is to go to the slaughterhouse, pile great hunks of meat on his trolley and push them through the hectic city, running barefoot. It’s a harsh job with scarce income. But Shilo has a dream. He wants to become a professional marathon runner.
Source: https://www.bertafilm.com/catalogue-film/distribution/documentary/meat-pusher/

On les appelle Boyi biyo, ou double poumon, ce sont les pousseurs de viande. Chaque matin, ils attendent à l'abattoir qu'on remplisse leur pousse de grands quartiers de viande avant de courir à travers la ville jusque chez leur patron boucher. Shilo est l'un d'eux. Il court, il court. Il a un rêve : gagner le marathon de Bangui.

Bio
Born in Bangui, Anne-Bertille Ndeysseit Vopiande studied Human Resources Management at the University. After graduation, in 2017, she participated in the first Varan workshop in the Central African Republic during which she directed her first documentary short I a wali. In 2018, as an assistant electrician, she took part in the shooting of the film Camille by Boris Lojkine. In 2018-2019, she participated in the second Varan workshop, during which she directed her second documentary film Boyi biyo - Double lung

Née à Bangui, Anne-Bertille Ndeysseit Vopiande a étudié la Gestion des Ressources Humaines à l’Université. Après sa licence, en 2017, elle participe au premier atelier Varan en République Centrafricaine pendant laquelle elle réalise son premier court-métrage documentaire I a wali. En 2018, elle participe au tournage du film Camille de Boris Lojkine, comme assistante électricienne. En 2018-2019, elle participe au deuxième atelier Varan et réalise dans ce cadre son deuxième film documentaire Boyi biyo - Double poumon.

Source: https://ateliersvaran.com/fr/reseau/annuaire/anne-bertille-ndeysseit-vopiande_6011

Amina Ndiaye LeClerc: Valdiodio N’Diaye, Un Procès pour l’Histoire (Valdiodio N’Diaye, a trial for history) - FESPACO 2021


FESPACO 2021
Feature documentary in competition
Amina Ndiaye LeClerc
Valdiodio N’Diaye, Un Procès pour l’Histoire 
(Valdiodio N’Diaye, a trial for history)
Senegal
52min - Documentary - 2021

Source: https://www.valdiodio-ndiaye.com/

Description
The film sheds light on a dark moment in African independence and challenges the official version of the writing of history. Valdiodio N'Diaye, Senegal’s independence hero, is unfairly accused of plotting a coup alongside the council president Mamadou Dia. Direct witnesses, all are unanimous in their telling of the masquerade of the procedure orchestrated by President Senghor who, with the complicity of France, eliminated a party deemed overly sovereignist.

Le film éclaire un moment obscur des indépendances africaines et remet en cause la version officielle de l’écriture de l’histoire. Valdiodio N'Diaye, héros de l’indépendance du Sénégal, est injustement accusé d’avoir fomenté un coup d’état aux côtés du président du Conseil, Mamadou Dia. Des témoins directs, tous unanimes, racontent la mascarade de la procédure orchestrée par le président Senghor qui a éliminé avec la complicité de la France une équipe jugée trop souverainiste.

Bio
Amina Ndiaye LeClerc was born in Kaolack, Senegal. After obtaining a master's degree in Spanish from the University of Toulouse, she was hired as a sales executive at Air Afrique in Abidjan. Based in Paris, with her company Guelwaar she has produced four creative documentaries.
 
Amina Ndiaye LeClerc est née à Kaolack au Sénégal. Après l’obtention d’une maîtrise d’espagnol à l’Université de Toulouse, elle est engagée comme cadre commercial à Air Afrique à Abidjan. Installée ensuite à Paris, elle produit avec sa société Guelwaar Production, quatre documentaires de création.


 

Maia Lekow: The Letter (La Lettre) - FESPACO 2021

FESPACO 2021
Feature documentary in competition
Maia Lekow
The Letter (La Lettre)
Kenya
81min - Documentary - 2019

Source: jcctunisie.org

Synopsis
Along the coast of Kenya, a frenzied mix of consumerism and Christianity is turning hundreds of families against their elders, branding them as witches as a means to steal their land. Ninety-two-year-old Margaret Kamango stands accused by her sons, while her strong-willed daughters try to protect her. This dangerous dispute is seen through the eyes of Margaret’s grandson, Karisa, who returns home from the city to investigate and is ultimately forced to choose which side he is on.

Sur la côte kenyane, un mélange frénétique de consumérisme et de christianisme retourne des centaines de familles contre leurs aînés, les présentant comme des sorcières pour leur voler leurs terres. Nyanya, 93 ans, est accusée par ses beaux-fils, tandis que ses filles de bonne volonté tentent de la protéger. Ce conflit dangereux est vu à travers les yeux de son petit-fils Karisa, qui rentre de la ville pour savoir ce qui se passe, et qui est forcé de choisir son camp.

Bio
Maia Lekow is a Kenyan musician and filmmaker. Her first film, The Letter, premiered at IDFA 2019 and was supported by IDFA Bertha Fund, Docubox, Hot Docs Blue Ice, Sundance DFP and Chicken & Egg Pictures. Maia was appointed UNHCR Goodwill Ambassador in 2013 and received an African Movie Academy Award for her song "UkoWapi" in 2009. Currently on international stages with her band, Maia & The Big Sky, Maia has also composed music hauntingly beautiful original for The Letter.
Maia Lekow est une musicienne et cinéaste kenyane. Son premier film, The Letter, est présenté pour la première fois à l'IDFA 2019 et a été soutenu par le IDFA Bertha Fund, Docubox, Hot Docs Blue Ice, Sundance DFP et Chicken& Egg Pictures. Maia a été nommée ambassadrice de bonne volonté du HCR en 2013 et a reçu un African Movie Academy Award pour sa chanson "UkoWapi" en 2009. Actuellement sur les scènes internationales avec son groupe, Maia & The Big Sky, Maia a également composé une musique originale d'une beauté envoûtante pour The Letter.

Note d'intention | Note of Intention
Husband and wife, working as co-directors, with Chris [King] on camera and Maia on sound, makes The Letter a deeply personal journey for both of them. Maia was born and raised in Nairobi, and had little connection to her father's homeland, where our film is set. Chris, originally from Australia but living in Kenya for over 12 years, found great comfort in the making of this film. Maia's approach to writing an original score for the film came from a desire to articulate the emotional complexity of the grandmothers' situation.

Mari et femme, travaillant en tant que co-réalisateurs, avec Chris [King] à la caméra et Maia au son, ce qui a fait de The Letter un voyage profondément personnel pour tous les deux. Maia est née et a grandi à Nairobi, et avait peu de liens avec la patrie de son père, où se déroule notre film. Chris, originaire d'Australie, mais vivant au Kenya depuis plus de 12 ans, a trouvé un grand réconfort dans la réalisation de ce film. L'approche de Maia dans l'écriture d'une partition originale pour le film, est venue d'une envie d'articuler la complexité émotionnelle de la situation des grands-mères.
 

17 October 2021

Jessica Beshir: Faya Dayi - FESPACO 2021

Jessica Beshir
Faya Dayi
Ethiopia
120min - Documentary - 2021

Synopsis
Ethiopian legend has it that khat, a stimulant leaf, was found by Sufi Imams in search of eternity. Inspired by this myth, Faya Dayi is a spiritual journey into the highlands of Harar immersed in the rituals of khat, a leaf that Sufi Muslims chewed for religious meditations – and Ethiopia’s most lucrative cash crop today. Through the prism of the khat trade, Faya Dayi weaves a tapestry of intimate stories of people caught between violent government repression, khat-induced fantasies and treacherous journeys beyond their borders, and offers a window into the dreams of the youth who long for a better life.

D’après la tradition soufie, si l’on mâche le khat, une feuille verte aux vertus stimulantes, on trouve le chemin vers l’éternité. Ce premier film de Jessica Beshir est un voyage dans les montagnes d’Éthiopie où le khat est devenu une culture répandue et lucrative. Entre légende et réalité, Faya Dayi raconte l’histoire d’un peuple qui vit de cette feuille minuscule mais puissante.


Bio
Jessica Beshir is a Mexican-Ethiopian director, producer and cinematographer based in Brooklyn. She made her directorial debut with her short film, HAIRAT, which premiered at Sundance  2017/ Criterion/ Topic/ The Atlantic. She is a recipient of the Sundance documentary fellowship, Jerome Foundation, Doha Film Institute and NYSCA artist fellowships. Her short films including He Who Dances on Wood/PBS and Heroin/Topic, have screened at Festivals and museums around the world including the Rotterdam Film Festival, Hot Docs, IDFA, Tribeca Film Festival, Museum of the Moving Image NY and the Eye Film Museum Amsterdam among others. Faya Dayi is her feature film debut.
Source: https://www.fayadayi.com/info

Mexicaine-Éthiopienne Jessica Beshir est une réalisatrice, productrice et directrice de la photo. Elle a obtenu sa Licence en études cinématographiques et littérature à l'Université UCLA (Californie, USA). Elle a réalisé le court métrage HAIRAT (2017) et le court métrage He Who Dances on Wood (2017). Elle est en train de produire son premier long métrage dont l'action de passe à Harar, en Ethiopie. Jessica vit à Brooklyn, New-York (Etats-Unis).
Source: africine.org/index.php/personne/jessica-beshir/52418

Carine Bado: Zalissa - FESPACO 2021

FESPACO 2021
Short fiction in competition
Carine Bado
Zalissa
Burkina Faso
35min - Fiction - 2019

In an interview with lefaso.net, Carine Bado has this to say about the film Zalissa | Dans un entretien avec lefaso.net, Carine Bado parle de son film « Zalissa »:

"Zalissa" is the story about a girl in middle school…She wants to be stylish like all young girls. One of her friends tells her about a bracelet that she has seen that she can buy for herself. She has such a strong desire for the bracelet that she begins to steal. We know that her friend Alice also finds ways to get more money, to buy pretty clothes. Then, one begins to wonder if she will go as far as prostitution.

« Zalissa », c’est l’histoire d’une fille qui est en classe de cours moyen…Elle a envie d’être coquette comme toutes les petites filles. Il y a une de ses amis qui lui dit qu’elle peut s’acheter un bracelet qu’elle a vu. Le désir de ce bracelet est si fort qu’elle se met à voler. Nous savons que son amie qui s’appelle Alice passe également par d’autres méthodes pour avoir plus d’argent, de quoi mieux s’habiller pour être plus coquette. Du coup, on ne sait pas si elle tombera dans la prostitution ou pas.

Source: https://lefaso.net/spip.php?article108232

Winnele Veyret: Yamb - FESPACO 2021

FESPACO 2021
Short fiction in competition
Winnele Veyret
Yamb
Gabon
24min - Fiction - 2019

 
Synopsis
After receiving a telephone message in an African language, 50-year-old Diane solicits a prostitution service for young Gabonese women, for a special occasion...

Suite à un message téléphonique en dialecte africain, Diane, 50 ans, va acheter les services d’une jeune prostituée gabonaise pour une grande occasion…


Un mot de la réalisatrice | Notes from the filmmaker
I have a desire to explore the flip side of so-called "successful" immigration. How does one manage to rebuild oneself, after making the choice of leaving everything, one's country, one's culture… What are the costs? A family that we support for years, and that we watch die via telephone, without ever being able to express to them, one last time, that we love them and that we miss them.

J’ai envie de m’interroger sur le revers d’une immigration, dite « réussie ». Comment parvenir à se reconstruire, lorsque l’on a fait le choix de tout quitter, son pays, sa culture… Qu’est-ce que cela nous coûte ? Une famille que l’on fait vivre pendant des années, et que l’on regarde mourir à travers un combiné téléphonique, sans jamais pouvoir exprimer à ceux qui la composent, une dernière fois, qu’on les aime et qu’ils nous manquent.

Bio
Winnele Veyret studied Humanities in Toulouse after which she obtained a degree in cinema in Bordeaux.

Winnele Veyret a suivi des études de lettres en CPGE à Toulouse puis de cinéma à Bordeaux.

Laurence Attali: Tabaski - FESPACO 2021

Laurence Attali
Tabaski
Senegal, France
26min 3sec - Fiction - 2019
Source: unifrance.org/film/49355/tabaski

Synopsis

Dakar, a few days before the feast of Tabaski, a painter is shut away in his studio, working on the theme of the ritual sacrifice of the ram. The red paint drips from the sketches hanging on clotheslines. An inscription on the wall: "Tabaski, who's next?".  Three characters and a sheep revolve around him and reconnect him with reality.

Dakar, à quelques jours de la fête de Tabaski, un peintre, enfermé dans son atelier, travaille sur le thème du sacrifice rituel du bélier. La peinture rouge coule des esquisses accrochées à des cordes à linge. Une inscription tracée au mur : Tabaski, à qui le tour ?. Trois personnages et un mouton gravitent autour de lui et le raccrochent à la réalité.

Note
This hybrid movie, blending fiction, art and politics, is freely inspired by the work of  the painter Iba Ndiaye (1928-2008)  "The Tabaski round, who’s next?" painting in the 1960s and 1970s. A sort of allegory in which the sheep is presented as the symbol of all victims. Indeed, Iba Ndiaye was not thinking directly about the sacrifice of sheep for Tabaski in Senegal, but rather of  the victims of colonization, segregation, and apartheid. "Painting is remembering," he said.

Ce film hybride, mêlant fiction, art et politique, est  librement inspiré de l’œuvre du peintre Iba Ndiaye (1928-2008), La Ronde de Tabaski, à qui le tour ?, réalisée dans les années soixante et soixante-dix. Une sorte d'allégorie où le mouton est présenté comme symbole de toutes les victimes. En effet, en peignant cette série, Iba Ndiaye ne pensait pas précisément au sacrifice des moutons de Tabaski au Sénégal, mais bien plutôt aux victimes de la ségrégation, de l'apartheid et de la colonisation. Peindre est se souvenir, disait-il.

Bio
Laurence ATTALI studied philosophy and cinema at Paris Sorbonne and theatre at Vincennes, before becoming an editor. She edited several features and documentaries before moving to directing in 1992. She made her first documentary,Mourtala Diop voyageur de l'art in Senegal. From 1999 she started making fiction films, such as Même le vent...,Baobab and Le déchaussé. Her films have been selected by numerous festivals, including the Venice Biennale, Locarno and Rotterdam. Attali obtained the Senegalese nationality in 2004.

La franco-sénégalaise Laurence Attali est réalisatrice, productrice, monteuse. Elle a acquis la nationalité sénégalaise en 2004.

Delphine Kaboré: Nos voisins (Our Neighbors) - FESPACO 2021

 FESPACO 2021
Short fiction in competition
Nos voisins
(Our Neighbors)
Delphine Kaboré
Burkina Faso
6min - Fiction - 2019
 
Image: Screen capture

 
Synopsis
René et Moussa, two young men very involved in the activities of their neighborhood in Ougadougou, are fun-loving, respectful, and sociable, and well appreciated by all of their neighbors. But who are they really? 

René et Moussa sont deux jeunes hommes très impliqués dans les activités de leur quartier à Ouagadougou. Bons vivants, respectueux et sociables, ils sont appréciés de tout leur voisinage. Mais qui sont-ils vraiment ?

Bio
Delphine Kaboré is the "7 jours pour 1 film" laureate for her script, Nos Voisins
 
Delphine KABORE est lauréate du 7 jours pour 1 film pour son scénario Nos Voisins
 

Esther Tebandeke: Little Black Dress - FESPACO 2021


Little Black Dress
Esther Tebandeke
Uganda
23mn - Fiction - 2019


Synopsis
A woman stuck in a cycle of routine, obligation and guilt figures out a way to reset her life amidst a feminist uprising.

Bio
Esther Tebandeke is an actress, dancer, storyteller and visual artist.

Alliah Fafin: Amani - FESPACO 2021

 
17min - Fiction - Canada - 2020
Produced by/par Les Films de l'Autre | Alliah Fafin
Source: https://f3m.ca/film/amani/

Synopsis
In this tale, halfway between reality and fantasy, a mysterious narrator tells us the story of Amani, a young boy passionate about dance. Amani’s innocence and joie de vivre open the narrator’s eyes to the humanity he had never really cared about before. But as the night begins to rumble, Amani’s joie de vivre disappears to give way to his pain, which echoes in the silence of the plain.

Dans ce conte, situé à mi-chemin entre réalité et fantastique, un narrateur mystérieux nous raconte l’histoire d’Amani, un jeune garçon passionné par la danse. L’innocence et la joie de vivre d’Amani ouvrent les yeux du narrateur sur l’humanité dont il ne s’était jamais vraiment soucié auparavant.
Mais alors que la nuit se met à gronder, la joie de vivre d’Amani disparaît pour laisser place à sa douleur qui résonne dans le silence de la plaine.


Bio
Alliah Fafin was born in Rwanda and raised in Burundi until the 1993 civil war. After studying directing in New-York, she directed music videos for Dominique Fils-Aimé (Révélation Radio-Canada 2019-2020), as well as promotional videos for artists such as Rafael Lozano Hemmer (Winner of the Governor General’s Awards in Visual and Media Arts). She left Quebec in 2016 for Chad, where she worked with UNICEF on the production of several videos illustrating the problems encountered by local populations, Nigerian refugees and Central African returnees. In 2018, she direct her first short film Amani in Chad, which was inspired by her experience in Burundi.

Alliah Fafin est née au Rwanda et a grandi au Burundi jusqu’à la guerre civile de 1993. Après des études en réalisation à New-York, elle réalise des vidéoclips entre autres pour Dominique Fils-Aimé (Révélation Radio-Canada 2019-2020), ainsi que des vidéos promotionnelles pour des artistes comme Rafael Lozano Hemmer (gagnant du prix du Gouverneur général en arts visuels et en arts médiatiques). Elle quitte le Québec en 2016 pour le Tchad, où elle travaille avec UNICEF sur la réalisation de plusieurs vidéos illustrant les problématiques rencontrées par les populations locales, les réfugiés nigérians et les retournés centrafricains. En 2018, elle tourne, au Tchad, son premier court-métrage Amani qui s’inspire de son expérience au Burundi.

16 October 2021

Fatou Kandé Senghor: Walabok, comment va la jeunesse ? | (Walabok, how are the youth doing) - FESPACO 2021

FESPACO 2021
Competition Série Télé
Walabok, comment va la jeunesse ?
(Walabok, how are the youth doing)
Fatou Kandé Senghor
Une série de 30 épisodes de 26 minutes
Senegal - 2021


Description
«…‘Walabok’ ou ‘Comment va la jeunesse’ est une histoire contemporaine qui mélange drame et l’humour subtil pour inviter à l’introspection. C’est une série qui a pour sujet la jeunesse sénégalaise à travers le prisme de la culture hip-hop dans ces quartiers populeux.»

"…Walabok ’or how are the youth doing’ is a contemporary story that blends drama and subtle humor to invite introspection. This is a series about Senegalese youth through the prism of hip-hop culture in these populous neighborhoods."

Source: https://www.sentract.sn/fatou-kande-senghor-realisatrice-de-walabok-cest-un-melange-drame-et-lhumour-subtil-pour-inviter-a-lintrospection/

Bio
Fatoumata Kandé created an artistic research platform called Waru Studio in Dakar that works like an experimentation lab, allying - Art- science-technology -Ecology-environment and Politics. Waru in Wolof language means "wonderment" and the platform is an incubator that combines all these sciences using new technologies. Convinced that art in Africa is an efficient weapon to address and resolve issues that concern Africans, and touch others in the world. She also works with young artists that need to broaden their discourse. In her own work she uses mediums such as photography, video, printing to raise consciousness around her. She produces conceptual art, and does not believe in art for art sake.

Fatoumata Kandé a fondé une plateforme de recherche artistique nommée Waru Studio à Dakar qui fonctionne comme un laboratoire d'expérimentation - Art- science-technologie - Écologie et Politique du changement, un incubateur qui allie toutes ces sciences en utilisant les nouvelles technologies. Convaincue que l'art en Afrique noire est une arme très efficace pour résoudre les problèmes des africains, elle incite beaucoup de jeunes venus de tous horizons a fréquenter le studio waru pour affûter leurs intuitions artistiques et technologiques au profit des sénégalais et des africains.
Son grand souhait est de voir ces jeunes artistes contemporains dont elle fait parti participer activement au développement et à la dynamisation des médias et de la communication dans un environnement professionnel offrant des perspectives d'avenir.

Elle a une expérience solide tant par sa diversité que par son caractère international, une sensibilité à l'évolution de l'environnement social, une ouverture culturelle acquise au gré de nombreux séjours en Afrique et à l'étranger et une plume taquine et audacieuse. Un tout à mettre au service d'une jeunesse engagée et soucieuse de performance.


Source: africine.org

15 October 2021

Gessica Geneus: Freda - FESPACO 2021

Long métrage en compétition
Freda
Gessica Geneus
Haiti - Fiction - 90min


Synopsis
Freda lives with her mother, sister and little brother in a popular neighbourhood of Haiti. They survive with their little street food shop. The precariousness and violence of their daily life pushes them to do everything they can to escape their situation in the hope of finding a better life. 

Freda habite avec sa mère, sa soeur et son petit frère dans un quartier populaire d’Haïti. Ils survivent avec leur petite boutique de rue. Face à la précarité et la violence de leur quotidien, chacun cherche une façon de fuir cette situation. Quitte à renoncer à son propre bonheur, Freda décide de croire en l’avenir de son pays.

Bio
(Source: http://www.sanosi-productions.com/realisateur/gessica-geneus)
Gessica Généus began her career as an actress at age 17, with Richard Sénécal’s feature film, Barikad. She then collaborated with many Haitian and international directors. She played in the TV movie dedicated to Toussaint Louverture, directed by Philippe Niang and produced by France 2. In 2010, after the earthquake, Gessica seeks to become involved in the reconstruction of her country, and works for the United Nations. With 70 young social workers, she accompanies Miyamoto, a Japanese company specialized in anti-seismic constructions, as well as the engineers of the Ministry of Public Works in the evaluation of the buildings, in the most disadvantaged places of Port-au-Prince, in order to to identify potential beneficiaries of the emergency shelter program launched by one of the UN agencies, UNOPS.
 
In 2011, Gessica won a scholarship at the Acting International in Paris. Back in Haiti, she created her production company, Ayizian Productions, to develop her own projects. Between 2014 and 2016 she directed Vizaj Nou, a series of documentary films of about fifteen minutes that portray major figures of contemporary Haitian society (Anthony Pascal says Konpè Filo, Viviane Gauthier, Odette Roy Fombrun and Frankétienne), in collaboration with the Caribbean Television.
 
In 2017, she directed Douvan jou ka leve (the day will dawn), co-produced with France Télévisions. This film wins seven awards and continues to be the subject of numerous screenings around the world. Freda, her first feature fiction was part of the official selection, Un certain regard, at Cannes Film Festival in 2021.

Gessica Généus débute sa carrière de comédienne à 17 ans avec le long-métrage Barikad, de Richard Sénécal. Elle a ensuite collaboré avec de nombreux réalisateurs haïtiens et internationaux. Elle a joué dans le téléfilm consacré à Toussaint Louverture réalisé par Philippe Niang et produit par France 2. En 2010, après le séisme, Gessica cherche à s’impliquer dans la reconstruction de son pays, et travaille pour les Nations Unies. Avec 70 jeunes travailleurs sociaux, elle accompagne Miyamoto, une entreprise japonaise spécialisée dans les constructions anti-séismiques, ainsi que les ingénieurs du ministère des Travaux publics dans l’évaluation des bâtiments dans les endroits les plus défavorisés de Port-au-Prince, afin d’identifier de potentiels bénéficiaires du programme de logement d’urgence lancé par l’une des agences des Nations unies, l’UNOPS.
 
En 2011, Gessica décroche une bourse d’études à l’Acting International de Paris. De retour en Haïti, elle crée sa société de production, Ayizian Productions, afin de développer ses propres réalisations. Entre 2014 et 2016 elle réalise Vizaj Nou, une série de films-documentaires d’une quinzaine de minutes qui dressent le portrait grandes figures de la société haïtienne contemporaine (Anthony Pascal dit Konpè Filo, de Viviane Gauthier, d’Odette Roy Fombrun et de Frankétienne), en collaboration avec la Télévision Caraïbes.
 
En 2017, elle réalise Douvan jou ka leve (Le jour se lèvera), coproduit avec France Télévisions. Ce film remporte sept prix et continue de faire l’objet de nombreuses projections dans le monde entier. Freda, son premier long-métrage de fiction pour le cinéma, a été en sélection officielle, Un certain regard, au festival de Cannes 2021.

14 October 2021

FESPACO 27 - 16-23 OCT 2021 : Cinémas d’Afrique et de la diaspora. Nouveaux regards, nouveaux défis | Cinemas of Africa and the diaspora. New perspectives, new challenges

FESPACO 27
16 - 23 Oct. 2021
 
Cinémas d’Afrique et de la diaspora. Nouveaux regards, nouveaux défis
 
Cinemas of Africa and the diaspora. New perspectives, new challenges
 
Le Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO) se déroulera cette année du 16 au 23 octobre sur le thème Cinémas d’Afrique et de la diaspora. Nouveaux regards, nouveaux défis

FESPACO, the Pan African Film Festival of Ouagadougou will take place this year from 16-23 October under the theme: Cinemas of Africa and the diaspora. New perspectives, new challenges
 
Pays invité d'honneur | Country of honor: Senegal
 
Selection committee:
 
Pedro Pimenta (Mozambique), Djia Mambu (RDC), Thierno Ibrahima Dia (Sénégal), Katarina Hedrén (Ethiopie), Lina Chabanne (Tunisie), Boubacar Sangaré (Burkina Faso), Guy Désiré Yaméogo (Burkina Faso), Laza Razajanatovo (Madagascar).

Atlantique de la franco-sénégalaise Mati Diop sera le film d'ouverture de la 27ème édition du FESPACO.

Atlantique by Franco-Senegalese Mati Diop will be the opening film for the 27th edition of FESPACO.
 
LES JURYS | THE JURIES
 
Feature film jury | Le jury longs métrages fictions
Abderrahmane Sissako (Mauritania) President
Germaine Acogny (Senegal)
Salif Traoré alias Asalfo (Cote d'Ivoire)
Suleman Ramadan (South Africa)
Hamid Shaddad (Sudan)
Apolline Traoré (Burkina Faso)
Chiraz Latri (Tunisia)

Le jury courts metrages | Short films
Angèle Diabang (Senegal) President

Jury Documentary | Documentaire
Jihan El Tahir (Egypt) President

Jury Film d'Ecole | Film School
Salif Traore (Mali) President

Séries télé | Animation
Fréderic Lavigne (France) President
 
Burkina
Moussa Absa Sene (Senegal) President

Perspectives
Alain Gomis (France/Senegal) President

SELECTION OFFICIELLE | OFFICIAL SELECTION
 
Longs métrages fictions
Air conditioner de/by Mario Bastos (Angola)
Baamum Nafi (Le Père de Nafi) de/by Mamadou Dia (Senegal)
Bendskins (Moto Taxi) de/by Narcisse Wandji (Cameroon)
Eyimofe (This is My Desire) de/by Chuko Esiri (Nigeria)
Farewell Amor de/by Ekwa Msangi (Tanzania)
Feathers de/by Omar El Zohairy (Egypt)
Freda de/by Gessica Généus (Haiti)
La femme du fossoyeur de/by Khadar Ahmed (Somalia)
La nuit des rois de/by Philippe Lacôte (Côte d’Ivoire)
Les trois lascars de/by Boubakar Diallo (Burkina Faso)
Lingui, les liens sacrés de/by Mahamat Saleh Haroun (Chad)
Nameless (Les Anonymes) de/by Mutiganda Wa Nkunda (Rwanda)
Oliver Black de/by Tawfik Baba (Morocco)
Souad de/by Ayten Amin (Egypt)
The White Line de/by Desiree Kahikopo-Meiffret (Namibia)
This is not a burial, it is a resurrection de/by Jeremiah Lemohang Mosese (Lesotho)
Une Histoire d’amour et de désir de/by Leyla Bouzid (Tunisia)

Courts Métrages Fictions
Aboula Ngando de/by Marcus Onalundula (R.D. Congo)
About a girl de/by Marwan Nabil (Egypt)
Amani de/by Alliah Fafin (Rwanda)
Anonymes de/by Fama Reyane Sow (Senegal)
Aziya de/by Karim Boukhari (Morocco)
Bablinga de/by Fabien Dao (Burkina Faso)
Daines de/by Gopalen Chellapermal (Ile Maurice)
Gwakoulou (Foyer traditionnel) by/de Moïse Togo (Mali)
Life on the Horn de/by Mo Harawe (Somalia)
Little Black Dress de/by Esteri Tebandeke (Uganda)
Nos voisins de/by Delphine Kaboré (Burkina Faso)
Prisoner and jailer de/by Muhannad Lamin (Libya)
Serbi (Les Tissus blancs) de/by Moly Kane (Senegal)
Tabaski de/by Laurence Attali (Senegal)
Tuk-tuk de/by Mohamed Kheidr (Egypte)
What did you dream de/by Karabo Lediga (South Africa)
Yamb de/by Winnele Veyret (Gabon)
Zalissa de/by Carine Bado (Burkina Faso)

Documentary | Documentaire - Long métrages
Dans la maison | A Way Home by/de Karima Saïdi (Morocco)
En route pour le milliard by/de Dieudo Hamadi (R.D. Congo)
Fanon, hier et aujourd’hui by/de Hassane Mezine (Algeria)
Faya Dayi by/de Jessica Beshir (Ethiopia)
Garderie Nocturne (Night Nursery) by/de Moumouni Sanou (Burkina Faso)
Janitou de/by Amine Hattou (Algeria)
Le dernier refuge de/by Ousmane Samassekou (Mali)
Makongo de/by Elvis Sabin Ngaibino (Central African Republic)
Marcher sur l’eau | Above Water de/by Aïssa Maïga (Senegal/Mali)
Nofinofy (Rêve) by/de Michaël Andryanaly (Madagascar)
On the Fence by/de Nesrine El Zayat (Egypt)
The Letter (La Lettre) by/de Maia Lekow (Kenya)
Valdiodio N’Diaye, Un Procès pour l’Histoire de/by Amina Ndiaye LeClerc (Senegal)
When a farm goes aflame by/de Jide Tom Akinleminu (Nigeria)
Zinder de/by Aicha Macky (Niger)

Documentary | Documentaire-Courts Métrages
5 étoiles by/de Mame Woury Thioubou (Senegal)
Boyi Biyo (Double Poumon) by/de Anne-Bertille Ndeysseit Vopiande (Rep Central Africa)
Ethereality by/de Kantarama Gahigiri (Rwanda)
Fin by/de Lara Sousa (Mozambique)
Jacob Salem Rock the Naaba by/de Paraté Yameogo (Burkina Faso)
Je me suis mordue la langue (I bit my tongue) by/de Nina Khada (Algeria)
Journey to Kenya de/by Ibrahim Ahmad (Soudan)
L’inconnu (The Unknown) by/de Simplice Ganou (Burkina Faso)
Mada ou l’histoire du premier homme by/de Laurent Pantaleon (La Réunion)
Nuit debout by/de Nelson Makengo (R.D. Congo)
Womb Dance by/de Rratsheko Howard Nthite (South Africa)

Séries télé
Hôtel Coco by/de Fernanc Lepoko (Gabon)
Dafra by/de Inoussa Kabore (Burkina Faso)
Derapages by/de Abdoulahad Wone (Senegal)
Divine by/de Tchatat Flavienne Ndjatcho (Cameroon)
Hante (Dead Places) by/de Gareth Crocker (South Africa)
Honorables députés by/de Serge Armel Sawadogo (Burkina Faso)
Juste quelqu’un de bien (Just a Better Person) by/de Jean-Noël Bah (Côte d’ivoire)
La villa d’à côté de/by Jacques Gohi Trabi (Côte d’ivoire)
Le clan du caméléon de/by Nissi Joanny Traoré (Burkina Faso)
Les secrets de l’amour de/by Benjamin Eyaga (Cameroon)
Madame... Monsieur de/by Ebenezer Kepombia (Cameroon)
Mami Wata : Le mystère d’iveza by/de Samantha Biffot (Gabon)
Oranges sucrées de/by Alex Ogou (Côte d’Ivoire)
Une vie de rêve de/by Abdoul Aziz Nikiema (Burkina Faso)
Voyage de rêve (Dream Trip) by/de Marina Imboua (Côte d’Ivoire)
Walabok, comment va la jeunesse ? Fatou Kandé Senghor (Senegal)
Wara (Les fauves) by/de Toumani Sangare et Oumar Diack (Senegal-Niger- France)

Films d'Animation | Animation
Gbehanzin, le défenseur de la liberté de/by Odilon Assou Edjedji (Benin)
Halima’s Vote (Le vote d’Halima) by/de Mbuotidem Johnson (Nigeria)
A Little Bird Told Me the ABC (Un petit oiseau m’a dit l’ABC) by/de Diek Glober (South Africa)
Akplokplobito de/by Ingrid Agbo (Togo)
Especial : Um Presente Spécial : Un Cadeau de/by Nildo Esae (Mozambique)
Farah’s Song (La Chanson de Farah) de/by Mokhtar Tallat (Egypt)
Ganja, les fils du Chanvre de/by Amath Ndiaye (Senegal)
Garbage Boy and Trash Can (L’éboueur et la poubelle) by/de Moshood Ridwan (Nigeria / South Africa)
Intergalatic Ice-Cream (Glace Intergalactique) de/by Andrew Philips (South Africa)
Kitwana’s Journey (Le voyage de Kitwana) de/by Ng'endo Mukii (Kenya)
La Loi du plus fort by/de Koami Tréinnou Amavi (Togo)
La Vallée de Dinka by/de Kaba Mohamed (Guinea)
Le Champ de Zozaniba by/de Gaoussou Tangara (Mali)
Le Jardin d’ataraxie by/de Jessica Alemdjrodo & Robby Cottard (Togo/France)
Le Troc by/de Arouna Camara (Mali)
Les Contes de Raya by/de Adja Mariam Sanogo/Soro (Côte d’Ivoire)
Letter to Dyslexia by/de Vernon François & Kwame Nyongo (Kenya)
Machini by/de Frank Mukunday & Trésor Tshibangu (R.D. Congo)
Majitu by/de Mark Kinuthia (Kenya/ South Africa)
Mark of Love : Celestial Burial 1080p by/de Hermann Kayode (Benin)
Mofiala by/de Boris Kpadenou (Togo)
Mozizi de/by Amil Shivji (Tanzania)
Souleyman de/by Aloïs Agboglo (Benin)
Super Dad by/de Judah Danjuma Ndanusa (Nigeria)
Tapis vert, l’homme qui arrêta le désert by/de Claver Yaméogo (Burkina Faso)
The Legend of Bababongo by/de Selorm Dogoe (Ghana)
The Legend of Lwanda Magere by/de Kwame Nyongo (Kenya)
The Satchel (La sacoche) by/de Nissi Ogulu (Nigeria)
The Underestimated Villain (Le méchant sous-estimé) by/de Comfort Arthur (Ghana)

Films des écoles de cinéma | Film Schools
Alchimie by/de Koffi Albéric Attadedji (Benin-Fiction - ISMA, Benin)
Balkissa by/de Youssouf Doumbia (Mali-Fiction    _ Conservatoire Balla Fasséké, Mali)
Binan-Douhô, au pays des danses Lobi by/de Hery Jemima Grace Kambou (Côte d’Ivoire-Doc - ISTIC Abidjan, Côte-d’Ivoire)
Chassé-croisé (Crossover) by/de Lica Marièlie Dangnivo (Benin-Fiction    - ISMA, Benin)
Dann Dole (Résilience) by/de Lopy (Senegal-Doc - Forut Media Centre Dakar, Senegal)
De l’autre côté by/de Marie Essono (Gabon-Fiction - ESAV Marrakech, Maroc)
Elegbara (La butte sacrée) by/de Gildas Dossou (Benin-Doc - ISMA, Benin)
Ewe da by/de Dominique Akrota (Benin-Fiction - ISMA, Benin)
Femme en couleur (woman in color) by/de Nancy Comlan & Joseph Avimadje (Benin-Doc - ISMA, Benin)
Gbemin by/de Morel Zannou (Bénin-Fiction - ISMA, Benin)
Ibeji (Jumeaux) by/de Barnabas Edongesit Udoh (Nigeria-Fiction - ISMA, Benin)
Ila Kiko (Marque tribale) de/by Abdoul Aziz Basse (Senegal-Fiction - ESAV Marrakech, Morocco)
Intraduisible décision de/by Agnon Flora Dongbehounde (Benin-Fiction - ISMA, Benin)
Italè (Identité) by/de Zinhoué Fleur Gloria Hessou (Benin-Fiction - ISMA, Benin)
Kabako by/de Camara (Guinea-Fiction - ISMAK - Dubreka, Guinea)
La Différence, une richesse de/by Assétou Kone (Mali-Doc - Conservatoire Ballafasséké, Mali)
Les gestes qui sauvent by/de Lenta (Chad-Doc - IFTIC, Niger)
Mon jour de chance by/de Sagou Banou (Mali-Fiction    - ISIS-SE, Burkina Faso)
Nugbedodo (Promesse) de/by Amouzou (Togo-Fiction - ESEC, Togo)
Orisha (Vaudou) by/de Léila Adje-Chabi Olayèmi (Benin-Fiction - ISMA, Benin)
Polia by/de Bassene (Senegal-Fiction - ISEP - Thies, Sénégal)
Réveil historique by/de Barry (Guinea-Doc - ISAMK de Dubreka de Guinée)
Subtil by/de Bessoga (Togo-Fiction - ESTEC du Togo)
Une vie volée de/by Arlette Jessica Valla (Burkina Faso-Fiction - ISIS-SE du Burkina Faso)
Vérité de sang by/de Nathalie Kagembega (Burkina Faso-Fiction - ISIS-SE du Burkina Faso)

11 October 2021

Recent films. Samantha Biffot: Mami Wata - Série (2021)

Competition Série-Télé
Samantha Biffot
Mami Wata
Série (France, Gabon)
Princesse M productions (Gabon)
8x52 minutes


Synopsis
Oliwina, une jeune journaliste, retourne dans sa ville natale d’Agouwé au Gabon — qu’elle a quittée pendant quinze ans en raison d’un événement traumatisant — pour enquêter sur la disparition de son jeune frère. À son arrivée, les corps de cinq enfants non identifiés sont retrouvés dans une mangrove voisine. Dans cette petite ville entourée d’océan et de mangroves, le nom de Mami Wata est sur toutes les lèvres.

Oliwina, a young journalist returns to her native village of Agouwé in Gabon to investigate the disappearance of her younger brother. She had left the village fifteen years before because of a traumatic event. Upon her arrival, the bodies of five unidentified children are found in a nearby mangrove swamp. In this little village surrounded by ocean and mangroves, Mami Wata's name is on everyone's lips.


Bio
Réalisatrice et scénariste franco-gabonaise, Samantha Biffot a grandi entre l’Asie et l’Afrique, où elle a été confrontée très tôt aux mélanges des cultures, thèmatique que l’on retrouve dans son 1er long métrage documentaire L’africain qui voulait voler (2016), sélectionné dans de nombreux festivals et nommé aux Trophées Francophones 2016.

Diplômée de l’ESRA Paris, elle monte en 2010 avec Pierre-Adrien Ceccaldi sa société de production Princesse M Productions au Gabon. En 2013, elle remporte le prix de la meilleure série au FESPACO pour L'Oeil de la Cité, co-produit avec l'Institut Gabonais de l’Image et du Son. Elle co-écrit et réalise depuis 2016 l’adaptation africaine de la série à succès Parents Mode d’Emploi diffusée sur TV5.

Franco-Gabonese filmmaker and screenwriter, Samantha Biffot grew up between Asia and Africa, where she experienced the mixtures of cultures very early on, a theme that can be found in her first feature documentary The African who Wanted to Fly (2016), selected in numerous festivals and nominated for the Trophées Francophones in 2016.

A graduate of ESRA in Paris, she created her production company Princesse M Productions in Gabon with Pierre-Adrien Ceccaldi in 2010. She won the award for best series at FESPACO in 2013 for L'Oeil de la Cité, co-produced with the Gabonese Institute for Image and Sound. Since 2016, she has co-written and directed the African adaptation of the successful Parents Mode d´Emploi series broadcast on TV5.


Samantha Biffot, créatrice de la série Mami Wata - Canneseries
Conversation modérée/moderated par/by Fabienne Silvestre (in French)
 

08 October 2021

Zambian Women in Cinema, Visual Media and Screen Culture

Zambian Women in Cinema, Visual Media and Screen Culture


"You can make a difference" Musola Cathrine Kaseketi

Musola Cathrine Kaseketi, the first Zambian woman filmmaker, is recognized for her work in raising consciousness through cinema regarding people with disabilities. Musola, who also has a disability, founded Shungu Namutitima International Film Festival of Zambia (SHUNAFFoZ) in order to showcase, the capabilities of people and women in particular, with disabilities. Wanting to share her skills with aspiring filmmakers she established Vilole Images Production in 2002 whose aim is "to provide a platform for skills and knowledge enhancement, development and promotion of the film and television industry through training workshops throughout the year and hosting of a film festival each year that will screen products with various themes that contribute towards social change and improve livelihoods."

Having attended the Newtown Film and Television School in Johannesburg, which incorporates the empowerment of black women in its mission, she in turn has been mentor to other women. Jessie Chisi who was trained by Musola acquired filmmaking experience while working on her film Suwi. In 2015 at the Women of the Year Awards--designed to honor some in various fields who have made a contribution in shaping Zambia--she received the Woman of the Year in Film. She had this to say about receiving the award: "I was honoured amongst many other great women including the Honourable Inonge Wina, the first female vice president of Zambia, and also with two of my mentors, Dr. Tukiya K. Mabula, Deputy Governor at the Bank of Zambia, and the woman who taught me filmmaking Musola Cathrine Kaseketi. How cool can that be? Being honoured together with the women who you look up to?" A decade before in 2007, Musola was recognized at the Harare-based International Images Film Festival for Women (IIFF), during which she received the Distinguished Woman of African Cinema Award at its inaugural reception.

Like Jessie Chisi, women are aware of the important cultural exchange and support that the international experiences can provide. Because of the training and production opportunities outside of Zambia, women navigate in myriad locations, their home country always the point of departure. Seya Kitenge Fundafunda attended high school at the International School of Geneva, later enrolling in a film internship program in Helskinki, Finland. From these experiences she honed her filmmaking and organizing skills as director of a media company African Reel, whose mission is, to tell realistic African stories, to inspire, educate, motivate, challenge, as well as entertain the world in general and Africa in particular. Another project, Amka Arts Festival is a multi disciplinary arts festival whose main goal is to promote Zambian art and showcase its diverse culture. She had this to say about the empowerment of women: "Women are the major players in the development process and need to be empowered. Media is a powerful tool to educate women on issues that affect them, because what people see they believe and begin to practice." Rungano Nyoni, born in Zambia, emigrated to Wales at the age of nine. She directed several short films, and her first feature film, I am not a Witch, was selected at the Directors' Fortnight at Cannes.

Through the efforts of women in Zambia and the Diaspora, Musola Kaseketi's vision of her country continues to resonate: "Zambia is a nation filled with artists who have great potential in the area of acting and production."

These Zambian women are among the growing cohort of filmmakers and film activist who contribute to the vibrancy of a cinema culture in the country.

Report by Beti Ellerson

Links to articles on the African Women in Cinema Blog:

I Am Not A Witch by Rungano Nyoni (Zambia | Zambie)
https://africanwomenincinema.blogspot.com/2019/02/fespaco-2019-i-am-not-witch-je-ne-suis.html

Jessie Chisi: Woman of the Year in Film Award
https://africanwomenincinema.blogspot.com/2015/04/jessie-chisi-woman-of-year-in-film_15.html

Jessie Chisi talks about "Between Rings: The Esther Phiri Story" and her hopes for Zambian cinema
https://africanwomenincinema.blogspot.com/2014/09/jessie-chisi-talks-about-between-rings.html

I Am Every Woman: Call for Entry View Special Images Film Festival 2012 (Zambia)
https://africanwomenincinema.blogspot.com/2011/08/i-am-every-woman-call-for-entry-view.html

Rungano Nyoni: Mwansa the Great
https://africanwomenincinema.blogspot.com/2011/11/rungano-nyoni-mwansa-great.html

A Conversation with Sam Kessie
https://africanwomenincinema.blogspot.com/2011/05/conversation-with-sam-kessie.html

Musola Cathrine Kaseketi: You Can Make a Difference
https://africanwomenincinema.blogspot.com/2011/03/musola-cathrine-kaseketi-you-can-make.html

07 October 2021

Togolese Women in Cinema, Visual Media and Screen Culture

Togolese Women in Cinema, Visual Media and Screen Culture

"I have always been interested in women's discourse, because I think it is an alternative discourse.  I have always treated my themes from the perspective of women."--Anne-Laure Folly Reimann

The creation of the Lomé-based African Film Festival of Women Filmmakers (Festival Africain des Films de Femmes Cinéastes (FAFFCI)) in 2018 offered an environment for the promotion and empowerment of Togolese women in cinema on a national level, thus providing a structure for the cultural work by women filmmakers that has spanned several decades. The first edition of the festival activities included conferences, panels, consciousness raising sessions, a contest of documentary and fiction films made by all-women film crews, and a Masterclass entitled: “Mentoring women filmmakers for the advancement of the industry.” Similar to other women's film festivals throughout the continent, the festival is an essential structure for networking and building environments for women's empowerment.

Since the 1990s international lawyer-filmmaker-activist Anne-Laure Folly-Reimann has been actively involved in the organization and development of African cinema culture at the continental and international levels. Sitou Ayité, critique, producer, scriptwriter and filmmaker, wears many hats in Togolese film culture. Since 2009 founder Christelle Aquéréburu is also director of the Togolese film school Ecran, laying the groundwork for the formation of a cadre of audio-visual professionals. Since 2010, Juliette Akouvi Founou oversees the many activities of the Association Togolaise du Cinéma Numérique Ambulant (ATCNA), as president of the digital mobile cinema association. In April 2021 ATCNA launched a call for candidates for a writing residency for short films targeting young francophone women creatives-filmmakers, under the theme "The Woman in Contemporary Africa. This initiative reinforces the long-standing objective of African women stakeholders in cinema: to empower women through training and mentoring.

Author-filmmaker Gentille M. Assih's film Into the Light, about domestic violence, highlights the liberating life stories of Quebecois women of West African origin. Berlin-based German-Togolese Ines Johnson Spain focuses her camera on her personal story. In Becoming Black a girl discovers her true identity, that of a mixed race adolescent.

In addition to an interest in producing realistic stories about everyday African experiences to present to the African public, Angela Aquéréburu wants also to distribute her films more broadly in order to make them visible on the international scene. She explains in ForbesAfrica: "To make content exportable, you need a universal story, good actors, beautiful images, good music and to respect international broadcast codes.” She co-founded the Lomé-based Yobo Studios to provide original and exportable programs and bring a different perspective regarding Africa.

Jahëna Louisin, who holds a Masters in International Relations and Political Science, is a journalist reporter of the visual image for local production companies and international televisions and has lived in Togo since a child. Behind her camera, she immortalizes life stories drawing inspiration from daily life, both tender and harsh, to imagine human stories with universal appeal.

These Togolese women are among the growing cohort of filmmakers and film activist who contribute to the vibrancy of a cinema culture in the country.

Report by Beti Ellerson


Links to articles on the African Women in Cinema Blog
:

Gentille M. Assih: Into the Light
https://africanwomenincinema.blogspot.com/2021/04/vues-dafrique-2021-gentille-m-assih.html

La femme dans l'Afrique Moderne - CNA Cinéma Numérique Ambulant TOGO  | The Woman in Contemporary Africa
https://africanwomenincinema.blogspot.com/2021/04/la-femme-dans-lafrique-moderne-cna.html

Festival Films Femmes Afrique 2020 - Jahëna Louisin : 28 jours (28 days)
https://africanwomenincinema.blogspot.com/2020/02/festival-films-femmes-afrique-2020_71.html

Ines Johnson Spain: Becoming Black
https://africanwomenincinema.blogspot.com/2020/12/ines-johnson-spain-becoming-black.html

Festival Africain des Films de Femmes Cinéastes (FAFFCI) | African Film Festival of Women Filmmakers - 2018 (Togo)
https://africanwomenincinema.blogspot.com/2018/03/festival-africain-des-films-de-femmes.html

Angela Aquereburu : Producing realistic, original, universal African stories | Produire des histories africaines authentiques, originales, universelles
https://africanwomenincinema.blogspot.com/2017/10/angela-aquereburu-producing-realistic.html

Christelle Aquéréburu, Directrice de l’ECRAN - Ecole de cinéma au Togo | Director of ECRAN film school in Togo
https://africanwomenincinema.blogspot.com/2014/04/christelle-aquereburu-directrice-de.html

Angéla Aquereburu lance une campagne de crowdfunding sur Indiegogo pour la série "Palabres" | Angéla Aquereburu launchs a crowfunding campaign on Indiegogo for the "Palabres" series
https://africanwomenincinema.blogspot.com/2014/03/angela-aquereburu-lance-une-campagne-de.html

Juliette Akouvi Founou : "The CNA Togo is in its launching phase"
https://africanwomenincinema.blogspot.com/2013/05/juliette-akouvi-founou-cna-togo-is-in.html

Anne-Laure Folly: African women's voices as alternative discourse. Reflections on the film "Les Oubliées"
https://africanwomenincinema.blogspot.com/2010/07/anne-laure-folly-les-oubliees.html

A Conversation with Angéla Aquereburu
https://africanwomenincinema.blogspot.com/2010/05/conversation-with-angela-aquereburu.html


06 October 2021

Film in progress. Nora Awolowo: Baby Blues, Trials of Childbirth - Documentary - Nigeria

Nora Awolowo: Baby Blues, Trials of Childbirth
A Documentary - Nigeria
Film in Progress

Source: https://www.youtube.com/watch?v=ZFgcvsCPi9g

One of the biggest myths about motherhood is that the mother falls head over heels in love with her newly born. That's often not the case.

Rixel Studios in partnership with Glitch Africa teamed up to produce this documentary spotlighting postpartum depression in mothers after childbirth.

Directed by: Nora Awolowo
Produced by: Ella Otigba
 
 

04 October 2021

Le Salon du cinéma au féminin - Women in Cinema - Abidjan 2021

 

Le salon du cinéma au féminin | Salon of Women in Cinema - Abidjan 2021
04-05-06 nov

Communiqué de presse | Press release
(En français ci-dessous)
 
Le positionnement des femmes dans le cinéma et la dynamique en evolution
The positioning of women in cinema and the evolving dynamics


Under the aegis of the Ministry of Culture and Arts and Entertainment Industries, On Move Magazine, a platform dedicated to film professionals and enthusiasts and Golden Arrows Productions Sarl as well as all partners and associates, inform all professionals and enthusiasts of cinema from the Cote d’Ivoire and elsewhere, for the organization of the first edition of the Salon du Cinéma au Féminin, the first exposition to promote the expertise of women in the process of film creation in Cote d’Ivoire and Africa. The Salon will be held at the National Cinema Office of Cote d'Ivoire (ONACCI) located in Cocody Angre Cite Zinssou, from 04 to 06 November 2021.

The objectives of the Salon:

- Encourage more women to explore careers in the technical areas of the film industry.
- Facilitate gatherings between film students and professionals in order to better prepare their integration into the professional environment.

We have on the program, a panel, a pitch competition, training workshops, a meetup and a closing celebration for film and audiovisual professionals. Several film professionals from different countries such as Cote d'Ivoire, Cameroon, France will be in attendance. We will be honored to count you among our prestigious guests in making this event a success.

Mory Sangare
Officer of Communication and Press Relations
 


 

03 October 2021

Summary | Sommaire - CINEF 2021 - Festival Cinéma au Féminin - Kinshasa

Summary | Sommaire
CINEF 2021
 Festival Cinéma au Féminin - Kinshasa
5th edition
25 Sept - 01 Oct
 
Thème : Il n'y a de véritable Renaissance que lorsque la femme est libérée

Theme: There is no true Renaissance until women are liberated

Festival Cinéma au Féminin, CINEF
Cadre véritable de la promotion des œuvres produites et réalisées par les femmes, CINEF qui célèbre en outre le cinéma et la culture, demeure un événement riche et varié où projections, ateliers de formation et rencontres professionnelles ont une place prépondérante.

Festival Cinéma au Féminin, CINEF
A real framework for the promotion of works produced and directed by women. CINEF, which also celebrates cinema and culture, continues to be a rich and varied event where screenings, training workshops and professional meetings have a prominent place.

Palmares - Awards (Congratulations Félicitations !)

Compétition internationale | International competition
- Meilleur documentaire long-métrage | Best feature documentary. Sur les traces de Mamani Abdoulaye: Amina Abdoulaye Mamani/Niger
- Meilleur documentaire court-métrage Best short documentary. Le sel de Djegbadji: Christiana de Souza/Bénin
- Meilleur film fiction | Best fiction film. Mofiala: Boris Kpadenou/Togo
- Meilleur son | Best sound. Kuma: Hawa Aliou N'diaye/Mali
- Meilleur montage | Best Editing. Kuma: Hawa Aliou N'diaye/Mali
- Prix du jury | Jury Prize. Trois feuilles: Éleonore Coyette et Sephora Monteau /Haïti
- Meilleure actrice | Best actress. Amie-Hélène Sambou/film Un air de Kora: Angèle Diabang/Sénégal
- Meilleur scénario | Best screenplay. Ça tourne à Ouaga: Irène Tassembedo/Burkina Faso

Compétition nationale | National competition
- Meilleure actrice premier rôle | Best Actress in a Leading Role : Getty Lembe (film "A'andisa")
- Meilleure actrice deuxième rôle | Best supporting actress : Starlette Mathata (film "Awa")
- Meilleur maquillage | Best make-up : Noelly Okito (film "Menace commune")
- Meilleur costume | Best costume : Lisa Lukezo (film "Après coup)
- Prix du patrimoine | Heritage Prize : "Awa" de/by Déborah Basa
- CINEF Prix espoir | Hope Prize : Fifi Kengumbe

Les evenements du festival | festival events

Panel "Femme et Histoire " | Women and History
L’accent de ce panel est mis sur l’héritage qu’ont légué les femmes d'Afrique en vue d’envisager un avenir qui s’inscrit sur un continuum historique.
The panel focus is on women's legacy as they envision a future on the continuum of African history.
 
Avec comme intervenants | Participants include :

- Emmanuel Kabongo Malu, Historien et Professeur du journalisme | Historian and Professor of Journalism (Université Pédagogique Nationale de Kinshasa)
Sous-thème : « Renaissance africaine, quels sont les défis d’un nouveau paradigme ? » | "African Renaissance, what are the challenges of a new paradigm?"

- Henry Bundjoko Banyata, Directeur Général du nouveau Musée National
Sous-thème : « La sauvegarde du patrimoine culturel pour la relance économique d’une industrie culturelle » | "Safeguarding cultural heritage for the economic revival of a cultural industry"

- Monique Mbeka Phoba, Cinéaste
Sous-thème : « Le cinéma comme support d’histoire pour une véritable Renaissance africaine » | "Cinema as a medium of history for a true African Renaissance"
 
- Leye Ndye Binta alias "Lala", actrice et styliste sénégalaise | Senegalese actress and stylist
Sous-thème : « La femme comme vecteur des valeurs culturelles » | "Women as a vector of cultural values"

- Freddy Mulumba Kabuayi, Directeur Général a.i de la RTNC, Essayiste  
Sous-thème : « Rôle des médias pour une Renaissance africaine réussie » | “The role of the media in a successful African Renaissance”

- Patience Barandenge, entrepreneure et marraine de la 5è édition du Cinef ainsi que l'actrice sénégalaise Ndaye Cire Ba alias Djalika de la série Maîtresse d'un homme marié | entrepreneur and sponsor of the 5th edition of Cinef, as well as the Senegalese actress Ndaye Cire Ba alias Djalika from the series Maîtresse d'un homme marié
Sous-thème : "Femme et moeurs, quel impact pour le développement sociétal" | "Woman and respectability, what impact for societal development"

Les ateliers | Workshops

- L'atelier sur le contrat de droits d'auteur, de production, de coproduction et des diffusions animé par Kalista Sy, créatrice de la série "Maitresse d'un homme marié" | Workshop on the copyright, production, co-production and broadcast rights led by Kalista Sy, creator of the series "Maîtresse d'un homme marié"

- L'atelier "leçon de cinéma et éducation à l'image" animé par le cinéaste Balufu Bakupa-Kanyinda | Workshop "a lesson of cinema and image literacy" led by filmmaker Balufu Bakupa-Kanyinda

- L'atelier de production animé par la cinéaste Monique Mbeka Phoba, dont le Cinef célèbre ses 30 ans de carrière de cinéaste | Production workshop led by Monique Mbeka Phoba, whose 30-year career as a filmmaker is celebrated by Cinef

02 October 2021

Recent films. Ellie Foumbi: Mon père, le diable | My Father, the Devil

Ellie Foumbi

Mon père, le diable | My Father, the Devil
USA (Cameroon)
Fiction - 107min - 2021

Synopsis
Marie works as the head cook in a retirement home in a small mountain town in the south of France. Though she seems relatively well adjusted; Marie harbors a shameful secret—she’s a former child soldier. Silently struggling with the remnants of her traumatic past, Marie hides her PTSD from those around her. Her quiet life is turned upside down the day an African priest named Father Patrick begins to volunteer at the home. She immediately recognizes him from her past. As Father Patrick charms all her co-workers, Marie must decide if she will exact her revenge or cling to the new life she’s built.

Marie est chef cuisinière dans une maison de retraite d'une petite ville de montagne du sud de la France. Bien qu'elle semble bien intégrée, Marie cache un secret dont elle a honte : elle était enfant soldat. Elle combat silencieusement les vestiges du passé traumatique qu'elle porte en elle et cache son TSPT à ceux qui l'entourent. Sa vie tranquille est bouleversée le jour où un prêtre africain, Père Patrick, vient faire du bénévolat dans le foyer. Marie le reconnaît immédiatement. Le père Patrick envoûte tous ses collègues. Marie doit décider si elle va se venger ou garder la nouvelle vie qu'elle a construite.

Director’s Statement

The impact of war on children is further complicated when they become the perpetrators of violence. That’s the real tragedy of child soldiers. I wanted to explore who these children become as adults, how they process the atrocities they witnessed and committed. This is an aspect of war that’s seldom discussed. By setting Mon Père, le Diable in a neutral location, I saw an opportunity not only to explore this issue from a unique perspective, but to make an intimate social commentary on it.
 
Source: https://www.labiennale.org/en/cinema/2021/lineup/biennale-college-cinema/mon-père-le-diable
Image: elliefoumbi.com
 
Bio
Ellie Foumbi is an actor/writer/director from Cameroon. She holds an MFA from Columbia University’s School of the Arts in Directing. Her films have screened at several international film festivals, placing in the Student Academy Awards Semifinals and garnering a nomination for an African Movie Academy Award. She was invited to participate in New York Film Festival’s prestigious Artist Academy. Ellie’s projects have been supported by the Venice Biennale College-Cinema, SFFILM Kenneth Rainin Foundation, IFP’s No Borders Project Forum, Film Independent Screenwriting Lab, and Tribeca Film Institute's Untold Stories.

Ellie made her TV directorial debut on BET’s hip-hop anthology, Tales. Her short film, ‘Home’ was commissioned by Netflix, in association with Film Independent, and premiered on their Netflix Film Club’s Youtube channel. Her first feature film, Our Father, the Devil, was presented at the 78th Venice International Film Festival in 2021. She is a member of the Screen Actors Guild and the Directors Guild of America.
 
Source: elliefoumbi.com

01 October 2021

UNESCO PUBLICATION: L’industrie du film en Afrique | the Film Industry in Africa

 
UNESCO Lancement de la publication de l'UNESCO
 « L’industrie du film en Afrique : tendances, défis et opportunités de croissance » | Launch of the UNESCO publication « the Film Industry in Africa : tendencies, challenges and growth opportunities » - 5 octobre/October 2021

L'UNESCO lancera la nouvelle publication intitulée "L'industrie du film en Afrique: Tendances, défis et opportunités de croissance" lors d'un événement le 5 octobre 2021. Cette publication est le fruit d'une étude exploratoire lancée en octobre 2020 par l'UNESCO sur l'industrie cinématographique et audiovisuelle en Afrique. Pour la première fois, une cartographie complète de cette industrie dans 54 pays du continent africain est disponible, incluant de nouvelles données quantitatives et qualitatives. Cette publication permet de mieux comprendre les défis et les besoins du secteur et propose une feuille de route pour aider les États à élaborer et à mettre en œuvre des politiques.
La production et la distribution d'œuvres cinématographiques et audiovisuelles est l'un des secteurs de croissance les plus dynamiques au monde et en Afrique, ce secteur a connu une expansion de la production grâce aux technologies numériques. Pourtant, sur une grande partie du continent, le potentiel économique du secteur cinématographique et audiovisuel reste largement inexploité. Cet événement explorera les tendances, les opportunités et les défis de l'industrie cinématographique et audiovisuelle africaine avec des représentants des États membres de la région africaine, des représentants d'organisations internationales partenaires, des réalisateurs et des professionnels du cinéma.
Trois tables rondes seront consacrées aux thèmes suivants :
    1.    Développer et produire des films en Afrique, vers une industrie pérenne
    2.    Investir dans l’industrie du film en Afrique : Enjeux, blocages et atouts
    3.    Appui institutionnel au cinéma africain : quelles priorités d’actions et synergies entre organisations internationales
Suivre le lien: https://fr.unesco.org/creativity/events/lancement-de-publication-lindustrie-du-film-afrique

UNESCO will launch the new publication entitled "African Film Industry: Trends, Challenges and Opportunities for Growth" at an event on 5 October 2021. The publication is the fruit of an exploratory study launched in October 2020 by UNESCO on the film and audiovisual industry in Africa. For the first time, a complete mapping of this industry in the 54 countries of the African continent is available, including new quantitative and qualitative data. The  publication allows us to better understand the challenges and needs of the sector and proposes a roadmap to assist States in the development and implementation of policies.
The production and distribution of film and audiovisual works is one of the most dynamic growth sectors in the world and in Africa this sector has been expanding production thanks to digital technologies. Yet across much of the continent, the economic potential of the film and audiovisual sector remains largely untapped.This event will explore trends, opportunities and challenges of Africa’s film and audiovisual industry with representatives of the Member States of the African region, representatives of international partner organisations, film directors and professionals.
Three Round Tables will focus on:
    1.    Developing and producing films in Africa towards a sustainable industry
    2.    Investing in the film industry in Africa: Challenges, obstacles and opportunities
    3.    Institutional support for the African cinema: priorities for action and synergies among international organisation
Follow the link: https://en.unesco.org/creativity/events/launch-publication-african-film-industry-trends

29 September 2021

African Women and Cinema, Italy as a site of cinematic discourse and engagement

African Women and Cinema, Italy as a site of cinematic discourse and engagement


“That is important, if you are doing research on [the topic of African cinema], you must look at my work, and if you have not then that means that you have not done your research properly…Not because of the joy of reading it, but to know what has been there, that it has been done and how it all started…that is why it is very relevant for today.”*

In the above quote Joy Nwosu refers to her book, Cinema e Africa Nera. Her cinematic experience, both artistic and academic, highlights the fact that an Italian afro-diasporic cinema culture was indeed present in the 1960s--her playing the pioneering role. As early as 1962, Joy Nwosu was among the first Nigerians to come to Italy to study. After receiving her diploma in music studies, she began a three-year program in Mass Communications in 1965, specializing in cinematography. For her final project she wrote her thesis Cinema e Africa Nera, on Africa and cinema. The first book to deal with the subject in any language, published in Italian in 1968, and reedited in 2014, also in Italian. The little-known book was rediscovered by Italian scholar of African cinema, Leonardo De Franceschi, who was instrumental in its reprinting in 2014 under the title Cinema e Africa, L’immagine dei neri nel cinema bianco e il primo cinema africano, as a critical re-edition, including extensive explanation of text. The significance of this work, as Nwosu notes in the above citation from a video interview arranged by De Franceschi*, is that it was a seminal text and a record of the period as it relates to African cinema history. It is also important to note that its obscurity most certainly is based on the fact that it is an Italian-language text. That it is neither in French nor in English [and perhaps that she is a woman] doomed it to the dusty shelves of African cinema history, a point that must be considered in reading any review of literature and citation of texts.

De Franceschi indeed understood the significance of Joy Nwosu's work. That his interest and research in African cinema was a prelude to his discovery of her work, reinforces the fact that the foundation of researching is to go beyond the surface--in this case to uncover a work written by an African woman in Italian in 1968. Moreover, she herself emphasizes the point that its significance first and foremost is that it was the first book that was written and published by an African from an African perspective regarding Africa and cinema. In an interview arranged by De Franceschi*, Joy Nwosu talks about the challenges as an anglophone speaker, of researching and writing in Italian, but at the same time, the rich research sources available to her of the few African filmmakers at the time.

Following in Joy Nwosu's footsteps, Sr. Dominica Diopio of Uganda resumed this Italian afro-diasporic cinema critique as a student at the Pontifical Gregorian University in Rome where she studied from 1998 to 2003, obtaining a Licentiate and PhD in Media Studies. Her doctoral thesis was published as a book under the title: Gender Terrains in African Cinema in 2014. Hence, thirty years later Sr. Diopio had the benefit of the Gregorian University library and organizing bodies such as Centro Orientamento Educativo (a main sponsor of Ecrans d'Afrique/African Screens) and the African, Asia and Latin America Film Festival in Milan (FESCAAAL), to name a few of the venues in Italy, at which she was able to view and research most of the films analyzed in her thesis. During the time of Sr. Diopio's studies in Italy, Italian scholar Maria Coletti also focused her research on representations of African women, Di diaspro e di corallo. L'immagine della donna nel cinema dell'Africa nera francofona (Of Jasper and Coral: Images of Women in Black African Cinema), is the published edition of her Ph.D. research at Roma Tre University released in 2001. She admits that there is a paucity of academic works on African cinema and women studies, and even fewer networks of researchers on that theme, and also, the unfortunate difficulty of working in the academy is Italy.

As noted above Centro Orientamento Educativo was a main sponsor of the Ecrans d'Afrique/African Screens). An association of lay Christian volunteers working in Italy and other countries of the world, the association also initiated FESCAAAL in order to promote the cinema of countries in development to the Italian public. Moreover COE organizes film weeks in Italian cities in order to showcase African cinema to its public as a means of awareness building and North/South cultural exchange.

Another cinema-focused initiative, Cinemafrodiscendente.com, though no longer active, was archival project for filmmakers of African descent in Italian cinema, created as a spin-off research of a book called L’Africa in Italia: Per una controstoria postcoloniale del cinema italiano (For a Postcolonial Counterhistory of Italian Cinema). Its objective is as follows: Cinemafrodiscendente was created to record the contribution that hundreds of, often unrecognized, figures of the Afrodescendant panorama gave to the Italian film industry since the silent era. The blog follows a cultural policy of affirmative action, aimed to empower the agency of dozens of African and Afrodescendant filmmakers, and is driven by the belief that a more efficient promotion of those figures may represent an added value for Italian film and creative industries.

Specifically women-focused initiatives include the sixth edition of the Bologna Lesbian Film Festival, Some Prefer Cake held in 2012, which featured visual activist Zanele Muholi as the guest of honor with an exhibition and audiovisual project focusing on the life of lesbians in South Africa. In addition, with a focus on theory, a film screening about the late African-American poet, activist and writer Audre Lorde was presented. In 2021, the 30th edition of FESCAAAL was devoted to women. Seven filmmakers from seven countries discussed their personal experience focusing on women's agency, their aesthetic and narrative choices and the emergence of a new women's imaginary from a contemporary, postcolonial and globalized perspective.

*See the 2015 video interview with Joy Nwosu in English arranged by Leonardo de Franceschi: Incontro con Joy Nwosu, autrice del libro "Cinema e Africa": https://www.youtube.com/watch?v=mOPbWlhFnmc
*See https://africanwomenincinema.blogspot.com/2017/09/joy-nwosu-author-of-cinema-e-africa.html
 
Report by Beti Ellerson
 
Links to related articles on the African Women in Cinema Blog
 
Perspectives from Italy: María Coletti talks about her research on the representation of women in African cinema
https://africanwomenincinema.blogspot.com/2011/06/perspectives-from-italy-maria-coletti.html