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

31 July 2021

Rosine Mbakam: nouvelle présidente de la commission documentaires/séries | Incoming president of the commission of documentary/series (Fonds Image de la Francophonie)

Nouvelle présidente de la commission documentaires/série
Incoming president of the commission of documentary series
(Fonds Image de la Francophonie)

La cinéaste camerounaise succède à Rahmatou Keïta, qui avait elle-même pris le relais de Marguerite Abouet en 2019.

The Cameroonian filmmaker succeeds Rahmatou Keïta, who had taken over from Marguerite Abouet in 2019.


Rosine Mbakam, originaire de l’Ouest du Cameroun, a suivi une première formation de réalisatrice à Yaoundé avant de rejoindre la chaîne Spectrum TV à Douala, puis d’intégrer l’INSAS, la prestigieuse école de cinéma de Bruxelles. Elle est l’auteur de plusieurs longs-métrages documentaires, dont le dernier, « Les prières de Delphine » a obtenu, cette année, le Prix des Jeunes au Festival « Cinéma du réel » de Paris. Ses trois longs-métrages documentaires sont diffusés actuellement par le MoMA (Musée d'Art Moderne de New York).

Au même moment, elle tourne, au Cameroun, le court-métrage de fiction « Pierrette », soutenu par le Fonds Image de la Francophonie.

Rosine Mbakam assurera la présidence de la commission Documentaires/séries du Fonds Image de la Francophonie jusqu’en 2023. Les autres membres actuels de la commission sont : Tella Kpomahou (Côte d’Ivoire), Emmanuel Mbédé (Cameroun), Myriam El Hajj (Liban), Delphine Manoury (France), Mamady Sidibé (Guinée) et Pierre Barrot (France, représentant l’OIF).


Rosine Mbakam, originally from western Cameroon, trained as a director in Yaoundé before joining the Spectrum TV channel in Douala, and afterwards INSAS, the prestigious film school in Brussels. She is the author of several feature-length documentaries. The most recent, Les prières de Delphine, won the Youth Prize at the "Cinéma du Réel" Festival (2021) in Paris. Her three feature-length documentaries are currently being broadcast by MoMA (New York Museum of Modern Art).

She is presently filming the short fiction “Pierrette” in Cameroon, which is supported by the Fonds Image de la Francophonie.

Rosine Mbakam will hold the presidency of the Documentaries / Series commission of the Image Fund of La Francophonie until 2023. The other current members of the commission are: Tella Kpomahou (
Côte d’Ivoire), Emmanuel Mbédé (Cameroon), Myriam El Hajj ( Lebanon), Delphine Manoury (France), Mamady Sidibé (Guinea) and Pierre Barrot (France, representing the OIF).


30 July 2021

Zalika Souley nous a quitté | Zalika Souley has passed away (1947-2021)

Zalika Souley nous a quitté | Zalika Souley has passed away
La doyenne des actrices du Niger, Zalika Souley, est décédée mardi à Niamey, à l'âge de 74 ans, « des suites de maladie », a-t-on appris mercredi soir. Née en 1947 à Niamey, sur les rives du fleuve Niger, Zalika Souley a été attirée toute jeune par le cinéma, devenant la première actrice professionnelle noire du 7ème Art sur le continent africain.
The dean of actresses of Niger, Zalika Souley, died Tuesday in Niamey, at the age of 74, "as a result of illness", it was reported on Wednesday evening. Born in 1947 in Niamey, on the banks of the Niger River, Zalika Souley was drawn to cinema as a young girl, becoming the first professional black actress of the 7th Art on the African continent.

23 July 2021

Gender Matters in the South African Film Industry 2018 (Report by the National Film and Video Foundation in Partnership with Sisters Working in Film and TV)

Gender Matters in the South African Film Industry
2018 Report
National Film and Video Foundation
in Partnership with Sisters Working in Film and TV
This 48-page report, published in 2018, was made possible through the collaborative effort of the South African entities, National Film and Video Foundation (NFVF) and Sisters Working in Film and TV (SWIFT). The NFVF, an agency of the Department of Arts and Culture overlooks the myriad aspects of the South African film and video sectors. SWIFT is a network of South African women whose focus is the empowerment and advancement of women in the visual media.

Source location:
The purpose and objectives of report below is reprinted from page 7
Purpose of this Report

This report endeavours to provide information and statistics on women participation and roles in the local film industry, along with a more nuanced set of explanations and challenges they face as practitioners. Various interventions at different levels were undertaken to address issues of women participation in the film industry. Some of those interventions included the establishment of:
- Sisters Working in Film and Television (Swift) – aimed at protecting and advancing the course of women in South African film and television;
- NFVF Female Filmmaker Slate – designed to correct the disparity between men and women in the film industry; and
- Women of the Sun – a South African advocacy group which committed itself to making it possible for the female filmmaker to participate. Women in Film and Television South Africa was also founded at the end of 2005 as a Section 21 organisation that concentrates on networking and skills development in its quest to boost the status of women in the industry. However, these two organisations no longer exist.

Aims and Objectives of the Study
The study aims to explore the role played by women in the South African film industry, and to quantify their total participation. The report further aims to uncover:
- Trends and insights into the status of women in the SA Film Industry;
- How various interventions (i.e. NFVF female filmmaker slate) have assisted in 
addressing gender parity in the industry;
- Challenges faced by female filmmakers;
- The role played by advocacy groups such as WOS, WIFTSA and SWIFT;
- Interventions to fast-track female filmmakers’ development; and
- The barriers to entry in the SAFI. 

21 July 2021

Cannes 2021. Un certain regard. Hafsia Herzi: Bonne mère | Good Mother

Cannes 2021. Un certain regard.
Hafsia Herzi: Bonne mère | Good Mother
France (Tunisia)
Fiction - 96min - 2021

Source: SBS Distribution

Nora, a cleaning lady in her fifties, looks after her small family in a housing estate in the northern part of Marseille. She is worried about her grandson Ellyes, who has been in prison for several months for robbery and is awaiting his trial with a mixture of hope and anxiety. Nora does everything she can to make this wait as painless as possible...

Nora, la cinquantaine, femme de ménage de son état, veille sur sa petite famille dans une cité des quartiers nord de Marseille. Après une longue période de chômage, un soir de mauvaise inspiration, son fils aîné Ellyes s’est fourvoyé dans le braquage d’une station-service. Incarcéré depuis plusieurs mois, il attend son procès avec un mélange d’espoir et d’inquiétude. Nora fait tout pour lui rendre cette attente la moins insupportable possible…

Hafsia Herzi is a French-Tunisian actress, filmmaker and scriptwriter of Tunisian/Algerian descent.

20 July 2021

Domoina Ratsara, Malagasy film critic: Putting Madagascar onto the cinema landscape

Domoina Ratsara, Malagasy film critic:
Putting Madagascar onto the cinema landscape

Domoina Ratsarahaingotiana, film critic and journalist, studied communication and local development. Interested in the empowerment of minority groups, her aim is to give them a voice.

She is president of the Association des Critiques Cinématographiques de Madagascar (ACCM) created in December 2018.  She has served on numerous juries and is becoming increasingly visible in film criticism discourse and debates.

Her focus on film criticism emerged around 2010, while participating in various cinema-related events. There, she realized the power of critique and the cinematic gaze and the importance of the image in people's perceptions of themselves and their society.

As a Berlin Talents" invitee of the 68th edition of the Berlin International Film Festival in 2018 she talked about her emergence in film criticism. Below is a summary.

Most of the time African cultures were portrayed by people from the outside, with exterior perceptions of the continent. That is why it is important for Africans to talk about their own culture, their own history. Most people in Madagascar do think that cinema can bring changes in perception of what we are and can actually change the future. A part from poverty there is a richness--and cinema can change this image. In the coming years, I wish that we will have relevant works that will project Madagascar onto the cinema landscape.

Image source: Berlin Talents

19 July 2021

New Book. African Cinema. Andrée Davanture: La Passion du Montage (A Passion for Film Editing) by/de Claude Forest

Andrée Davanture:
La Passion du Montage | A Passion for Film Editing
by/de Claude Forest
Edition l'Harmattan
452 pages

L'ouvrage retrace le parcours de cette grande monteuse du cinéma, qui commença classiquement dans le cinéma populaire en 1952 en travaillant avec les réalisateurs français de renom de l'époque (Henri Verneuil, Robert Hossein…), devint cheffe monteuse à la télévision en 1965 où elle côtoiera les pionniers de ORTF, avant de consacrer à partir de 1974 essentiellement aux cinéastes africains francophones. Elle les aidera individuellement dans le respect de leur imaginaire, et collectivement en visant la constitution d’un patrimoine. En animant ATRIA, structure collective atypique de soutien au montage et à la production cinématographiques, de 1980 à 1999, elle permettra la révélation de plusieurs dizaines de réalisateurs, notamment d'Afrique francophone. Elle continuera ensuite de monter des films jusqu’à sa disparition en 2014, inachevant le dernier film de Souleymane Cissé. Une cinquantaine de témoignages de monteurs, réalisateurs et professionnels contribuent à faire revivre cette monteuse à la générosité exceptionnelle.

The book, Andrée Davanture: La Passion du Montage, traces the career of this great film editor, who began classically in popular cinema in 1952 working with renowned French directors of the time (Henri Verneuil, Robert Hossein …). She became chief editor for television in 1965 where she rubbed elbows with the pioneers of the  Office de Radiodiffusion-Télévision Française (ORTF). After 1974 she devoted her time principally to Francophone African filmmakers, assisting them individually at the same time respecting their creative imaginary, and, collectively, with the aim of building a heritage. From 1980 to 1999 she played a leading role at ATRIA, an atypical collective structure supporting film editing and production, which enabled the discovery of several dozen directors, particularly from Francophone Africa. She continued editing films until her death in 2014, leaving the latest film of Souleymane Cissé unfinished.

The testimonials of some fifty editors, directors and professionals revive the work of this exceptionally generous editor.

Homage to Andrée Davanture (1933-2014), grande dame and passionate supporter of African cinema:

16 July 2021

Durban FilmMart Programme 2021. Africa in Focus: WOMXN IN FILM

Durban FilmMart Programme 2021
Africa in Focus: Womxn in Film

Tackling head-on the challenges that face women film professionals across the continent, the Africa in Focus: Womxn in Filmpanel will traverse issues of gender equality and safe working spaces, how to go about changing the structures of production and the infrastructure of the industry, while navigating spaces of sexism and other antiquated notions. Featuring Edima Otuokon (Ladima), Zanele Mthembu (SWIFT), and Antoinette Engel (Black Women Disrupt), the conversation will explore newly-created initiatives that challenge the status quo and take us into more equitable ways of working.

Text and Image Source:

12 July 2021

Recent films. Yamina Benguigui : Soeurs | Sisters (Algeria)

Yamina Benguigui
Soeurs | Sisters
Drama - 99min - 2020



For thirty years, French-Algerian sisters Zorah, Nohra and Djamila have been living in the hope of finding their brother Rheda, abducted by their father, and hidden in newly decolonised Algeria. Their relationship is shaken when Zorah, the eldest sister, decides to write a play based on the traumatising events of their childhood that haunted them their whole life. But when they learn that their father is dying, the three sisters decide to go to Algeria to seize their last opportunity to have him reveal where their brother is. When the past catches up, the three sisters have no choice but to put their differences aside.

Depuis trente ans, trois sœurs franco-algériennes, Zorah, Nohra et Djamila vivent dans l'espoir de retrouver leur frère Rheda, enlevé par leur père et caché en Algérie. Alors qu'elles apprennent que ce père est mourant, elles décident de partir toutes les trois le retrouver en Algérie dans l'espoir qu'il leur révèle où est leur frère. Commence alors pour Zorah et ses sœurs une course contre la montre dans une Algérie où se lève le vent de la révolution.

Yasmina Benguigui : Note d'intention | Director's statement (excerpt)

A few years ago, I received a call from the provinces: my father had just been hospitalized and was in serious condition. My childhood memories, with brutal force, came back to me.

We grew up in a no man's land that was neither France nor Algeria, in the shadow of our father. An anonymous fighter of a war that he continued to pursue despite Independence, so that his wife and children in France could become Algerian patriots.

We shattered his dream by anchoring ourselves to French soil. It was this choice that attached our generation to the land of the country my father fought for Algerian independence.

Immigrant mothers also fought for their place, and in their desire for emancipation, they were often confronted with the desperation and violence of fathers, and for some even, the brutal kidnapping of their children.

SISTERS is a personal film about the place of women of immigrant origin born in France, about their struggle for their rights, about their demands, about dual alliances.

It was this in-between-ness that I explored in confronting the heroine, Zorah, and her two sisters, Djamila and Norah, and the difficulty of escaping her history and the ghosts that haunt her.


Il y a quelques années, j’ai reçu un appel de province : mon père venait d’être hospitalisé dans un état grave.

Mes souvenirs d’enfance revinrent brutalement à ma mémoire.

Nous avions grandi dans un no man’s land qui n’était ni la France, ni l’Algérie, à l’ombre de notre père, combattant anonyme d’une guerre qu’il poursuivait malgré l’Indépendance pour que sa femme et ses enfants en France deviennent des patriotes algériens.

Nous avons brisé son rêve en nous arrimant au sol français. C’est ce choix qui a fixé notre génération sur la terre du pays que mon père avait combattu pour l’indépendance de l’Algérie.

Les mères de l’immigration se sont aussi battues pour y avoir leur place et dans leur désir d’émancipation, elles ont dû souvent faire face au désespoir et à la violence des pères, et pour certaines même, au kidnapping brutal de leurs enfants.

SŒURS est un film personnel sur la place des femmes issues de l’immigration nées en France, sur leur lutte pour leurs droits, sur leurs revendications, sur la double appartenance.

C’est cet entre-deux que j’ai exploré en confrontant l’héroïne, Zorah, et ses deux sœurs, Djamila et Norah, à la difficulté d’échapper à son histoire et aux fantômes qui la hantent.

10 July 2021

Cannes 2021. Aïssa Maïga: Marcher sur l'eau | Above Water (Cinema for the Climate | Le cinéma pour le climat)

Cannes 2021
Aïssa Maïga
Marcher sur l'eau | Above Water
(Cinema for the Climate | Le cinéma pour le climat)

Documentary - 90min - France | Belgium | Niger


Also see:

Marcher sur l'eau a été tourné dans le nord du Niger entre 2018 et 2020 et raconte l'histoire du village de Tatiste, victime du réchauffement climatique, qui se bat pour avoir accès à l’eau par la construction d'un forage. Chaque jour, Houlaye quatorze ans, comme d’autres jeunes filles, marche des kilomètres pour aller puiser l'eau, essentielle à la vie du village. Cette tâche quotidienne les empêche, entre autres, d'être assidues à l'école. L'absence d'eau pousse également les adultes à quitter leur famille chaque année pour aller chercher au-delà des frontières les ressources nécessaires à leur survie. Pourtant, cette région recouvre dans son sous-sol un lac aquifère de plusieurs milliers de kilomètres carrés. Sous l’impulsion des habitants et par l’action de l’ONG Amman Imman un forage apporterait l’eau tant convoitée au centre du village et offrirait à tous une vie meilleure.


Between 20218 and 2020, Aïssa Maïga went to Niger to film one of many villages that has been fallen victim to  global warming. Tehre, she followed a little girl, who, while waiting for a  a well to be built, must travel several kilometers for water everyday. Does access to water correlate with access to education for girls in Sub-Saharan African countries? This is another question that is raised in the film.

Aïssa Maïga est une comédienne française révélée au public avec son rôle dans Les poupées russes de Cédric Klapisch. Elle est ensuite nommée au César comme meilleur espoir féminin pour son rôle dans Bamako d’Abderrahmane Sissako. Elle est remarquée dans des comédies populaires françaises comme Il a déjà tes yeux ou Bienvenue à Marly Gomont, ou dans des drames intimistes tournés en langues étrangères. Elle a notamment été choisie pour interpréter des partitions dramatiques dans The boy who harnessed the wind, de Chiwetel Ejiofor et Taken down, de David Caffrey. En 2021, Aïssa Maïga tournera dans la série anglaise The Fear Index, le long-métrage d’Andrea Bescond et Eric Metayer, Quand tu seras grand et le film américain The man who saved Paris. Aïssa Maïga a co réalisé avec Isabelle Simeoni pour la télévision (Canal Plus) Regard Noir, un road movie documentaire tourné au Brésil, aux États-Unis et en France sur la place des femmes noires dans les fictions et les solutions pour l’inclusion de tous les talents. Marcher sur l’eau est son premier long métrage documentaire.


Aïssa Maïga is a French actress and filmmaker.

09 July 2021

Cannes 2021 - Marché du Film. Sara Chitambo: "Black people don't get depressed" (South Africa)

Cannes 2021 - Marché du Film

Original title: Black People Don’t Get Depressed
Directed by: Sara Chitambo
Produced by: Cati Weinek (The Ergo Company, South Africa)
Country of production: South Africa, Nigeria, Canada
Project curated by: IEFTA (International Emerging Film Talent Association

A filmmaker despairing for mental peace goes through the unavoidable journey of facing her depression. She speaks to others about their mental health as Africans and undergoes practices that mark ending of suffering. The characters in 3 countries have the commonality of difficult experiences, but also the desire to overcome. Images of transcendence are woven with poetry to build a rich observational film.

Director’s profile:
As a director Sara Chitambo is passionate about telling authentic, emotionally compelling stories and serious about continually mastering her craft as a filmmaker. She holds a Masters Degree in Documentary Film Production from Sussex University and has wide range of experience in television and film production.

Producer’s profile:
Cati has raised finance for feature films, such ‘The Letter Reader’ (2019), ‘The Tokoloshe’ (2018) ‘Mrs Right Guy’ (2016), Vryslag (2015) and the cult classic Gog’Helen’ (2012) Career highlights include developing and producing the Oscar winner Tristan Holmes’ first feature film, “The Fragile King” (release date 2021), developing feature films with award-winning storytellers such as Zola Maseko, Pieter Grobbelaar, Stephina Zwane, and Adze Ugah; and ultimately and above all being a proud parent of two ‘born-free’ babies. 

06 July 2021

African women, cinema and cultural heritage

African women, cinema and cultural heritage

African women screen practitioners have played an important role in the promotion and preservation of African cultural heritages. Moreover, their engagement as cultural producers of screen culture ensures the visualization of the vast cultural treasures of the African continent. For Sarah Maldoror (1929-2020), this was the leitmotif of her filmmaking practice: "I play a cultural role as filmmaker. What interests me is to research films about African history, because our history has been written by others, not by us. Therefore, if I don't take an interest in my own history, then who is going to do it? I think it is up to us to defend our own history, to make it known—with all of our qualities and faults, our hopes and despair.

Seipati Bulane Hopa, Secretary General of FEPACI from 2006 to 2013 highlighted the significance of African cultural heritage in her tribute to Rwandan producer Chantal Bagilishya:
"Chantal’s passing [in 2009] and that of others before her should not be in vain. The recent flooding of the library at the FESPACO took us by shock, the damage and loss that it incurred offers a powerful metaphor that evokes and invokes a greater consciousness of creating a future that is founded on pillars of prosperity - for procrastination is known to be opportunity’s natural assassin. We must aspire to that which necessitates measures that compel us toward creating tangible tools that help us create an infrastructure that is robust and responsive in managing African audiovisual cinema institutions.

The continuing loss of Africa’s intellectuals, the continuing loss and devaluation of Africa’s intellectual property can not continue to pass as unfortunate incidents – unfortunate incidents that seem to leave us in despair – feeling helpless and disempowered.

It is through the loss of our talent, the passing on of our most militant of our creative force that we must recharge our creative, intellectual energies, sharpen our creative weapons and compel change by looking at change with a different eye and an approach that compel us to be the change we want to see and be."

Ghanaian filmmaker Anita Afonu's passion for the preservation of Ghana's cinematic history inspired her film Perished Diamonds, which relates the history of Ghanaian cinema, and the initiative to restore its hidden and lost legacy. Her motivation was twofold, as a film school graduate she had a personal obligation to preserve Ghanaian cinema, and as a citizen of Ghana to uphold the ideas of Kwame Nkrumah. She had this to say in our interview: "Former President Nkrumah believed that the medium of film was a very important tool to change the mentality of the Ghanaian if he was going to make any changes as president. He believed that by showing films made by Ghanaians and shown to Ghanaians, that it would boost their self-esteem and encourage them to work for the better Ghana that he had set out. As president Dr. Nkrumah laid the groundwork for Ghanaian cinema..."

For Marie-Clémence Paes, Franco-Malagasy filmmaker/producer, the role of oral tradition is a point of departure in their work: "All of our films have always been based on the knowledge transmitted by oral cultures. The central idea being that there are treasures that are transmitted from generation to generation by word of mouth that are never written down, and they should not be neglected or looked down upon."

Sara Gubara journeyed into cinema through her father, Gadalla Gubara, pioneer of Sudanese cinema. His sudden blindness thrusted her into the forefront, she became his eyes. She has been determined to keep filmmaking alive in Sudan: “I love cinema and because of my father...I don’t want this to die.”

In their work, Cameroonians Marthe Djilo Kamga and Frieda Ekotto center the role of women as artists and cultural activists in the context of knowledge production. African women makers are the “primary sources” of their study and research--their voices and the relating of their experiences inform the project Vibrancy of Silence.

Through cinema, Liberian activist Pandora Hodge hopes to bring culture back to the country after the devastation of civil war. In 2017, she founded Liberia's first Art-House Cinema based on the dreams of young people, that youth entrepreneurship and culture are powerful tools for positive change.

In his article "Women and Intangible Cultural Heritage: the practice of the 'creative' documentary film in sub-Sahara Africa", Bertrand Cabedoche invokes the "Convention for the Safeguarding of Intangible Cultural Heritage", signed by UNESCO, which designating “the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage.” (art. 2.1). Through their films and activism, African women screen practitioners uphold these ideas and the promotion African cultural heritages.
Report by Beti Ellerson
Following are relevant articles on practices of cultural heritage on the African Women in Cinema Blog:

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

Soussaba Cisse Bogo Ja Mali

Sarah Maldoror: Pioneer

Joyce Jenje-Makwenda - Women in Film and Television in Zimbabwe: Modern Storytellers

Safi Faye: A song to women

Words of/La parole à Marthe Djilo Kamga & Frieda Ekotto : Vibrancy of Silence: A Discussion With My Sisters

Remembering Khady Sylla: Djia Mambu interviews Mariama Sylla, producer and co-director of “A Single Word” (with the late Khady Sylla)

Anita Afonu: Preserving Ghana's Cinematic Treasures

Marie-Clémence Paes: “there are treasures that are transmitted from generation to generation by word of mouth”

Women and Intangible Cultural Heritage: The experience of the “creative” documentary film in sub-Sahara Africa

Rahma Benhamou El Madani: "I try to connect to my roots through my films"

Mis Me Binga 2018 – Mireille Niyonsaba : Tresor Tissé | Woven Treasure (Burundi)

Katy Lena Ndiaye's walls of women, women's words

Fatou Kande Senghor: My work my passion

Hachimiya Ahamada: Dreams from the Comoros

Women and Intangible Cultural Heritage: The experience of the “creative” documentary film in sub-Sahara Africa

Tsitsi Dangarembga: Critical cultural debate

Rama Thiaw a filmmaker in the Struggle

Annette Mbaye d'Erneville: Mère-bi

Horria Saihi: A portrait

Chantal Bagilishya: "Special Tribute to one of Africa’s treasures in the world of cinema" by Seipati Bulane Hopa

30 June 2021

Black Camera: African Women Professionals In Cinema: Manifestos, Communiqués, Declarations, Statements, Resolutions by Beti Ellerson (Spring 2021)

Black Camera: African Women Professionals In Cinema: Manifestos, Communiqués, Declarations, Statements, Resolutions
by Beti Ellerson (Spring 2021)

Black Camera: An International Film Journal African Cinema: Manifesto & Practice for Cultural Decolonization, Part II Vol. 12, No. 2, Spring 2021, pp. 536-590

Compiled here is a selection of documents that span several decades. The desire is to represent as many regions of the continent as possible, as well as to outline the evolution of African women’s discourse as image-makers. At the same time, it emphasizes the critical need to historicize documents through preservation and archival practice, by all means. Created collectively or pronounced individually, these women-focused manifestos reveal the importance of addressing gender parity and women's concerns through institutionalized structures that empower their voices and recognize their strengths. In addition, these documents show the prevalence of organized meeting venues as a means for African women to network, voice their concerns and negotiate their place, in the same context as written manifestos and declarations with resolutions that follow. Hence, included are several reports and proceedings of conferences whose purpose is to plan, strategize and implement goals. In addition, film festival practices encompass broader engagements of cinema, and are perhaps some of the most important spaces in which to showcase the goals and objectives of film organizations and individual filmmakers, as well as implement them, and, at the same time present films—along with debates about them—that would not be seen otherwise. And with the ubiquity of social media, visual documents, in the form of video clips and slide presentations, continue the call to action, by visualizing ideas, concerns, and strategies for change. Hence, the selection attempts to incorporate these media as well, which together reflect past, present and future visions and voices of African women.

Published by: Indiana University Press

Black Camera Part II
ALSO SEE PART I: Fifty Years of Women's Engagement at FESPACO by Beti Ellerson (Fall 2020)

African Cinema: Manifesto & Practice for Cultural Decolonization, Part II -Black Camera: An International Film Journal Vol. 12, No. 2, Spring 2021

Black Camera

An International Film Journal
Colonial Antecedents, Constituents, Theory, and Articulations

Volume 12, Number 2, Spring 2021
African Cinema: Manifesto & Practice for Cultural Decolonization

PART II: Colonial Antecedents, Constituents, Theory, and Articulations

Published by
Indiana University Press


Table of Contents

On the Matter of African Cinema—Some Introductory Remarks
Gaston J.M. Kaboré, Michael T. Martin
pp. 1-8

Colonial Cinema
Roy Armes
pp. 10-28

The Colonialist Regime of Representation, 1945–1960
James E. Genova
pp. 29-60

Politics of Cultural Conversion in Colonialist African Cinema
Femi Okiremuete Shaka
pp. 61-90

The African Bioscope—Movie-House Culture in British Colonial Africa
James Burns
pp. 91-106

From the Inside: The Colonial Film Unit and the Beginning of the End
Tom Rice
pp. 107-128

The Independence Generation: Film Culture and the Anti-Colonial Struggle in the 1950s
Odile Goerg
pp. 129-154

What Is Cinema for Us?
Med Hondo
pp. 156-160

A Cinema Fighting for its Liberation
Férid Boughedir
pp. 161-167

Where Are the African Women Filmmakers?
Haile Gerima
pp. 168-175

The FEPACI and Its Artistic Legacies
Sada Niang
pp. 176-202

The Six Decades of African Film
Olivier Barlet
pp. 203-219

Africa, The Last Cinema
Clyde Taylor
pp. 220-235

The Pan-African Cinema Movement: Achievements, Misfortunes, and Failures (1969–2020)
Férid Boughedir
pp. 236-256

African Cinema(s): Definitions, Identity, and Theoretical Considerations
Alexie Tcheuyap
pp. 258-279

Theorizing African Cinema: Contemporary African Cinematic Discourse and Its Discontents
Esiaba Irobi
pp. 280-302

The Theoretical Construction of African Cinema
Stephen A. Zacks
pp. 303-316

Towards a Critical Theory of Third World Films
Teshome H. Gabriel
pp. 317-337

Africans Filming Africa: Questioning Theories of an Authentic African Cinema
David Murphy
pp. 338-357

Tradition/Modernity and the Discourse of African Cinema
Jude Akudinobi
pp. 358-371

Towards a Theory of Orality in African Cinema
Keyan G. Tomaselli, Arnold Shepperson, Maureen Eke
pp. 372-392

Film and the Problem of Languages in Africa
Paulin Soumanou Vieyra
pp. 393-398

In Defense of African Film Studies
Boukary Sawadogo
pp. 399-404

Dossier 1: Key Dates in the History of African Cinema
Olivier Barlet, Claude Forest
pp. 406-447

Dossier 2: Ousmane Sembène
Samba Gadjigo, Sada Niang
pp. 449-450

Sembène's Legacy to FESPACO
Sada Niang, Samba Gadjigo
pp. 451-458

Vigil for a centennial
Ousmane Sembène
p. 459

Cinema as Evening School
Ousmane Sembène
pp. 460-462

Statement at Ouagadougou (1979)
Ousmane Sembène
pp. 463-478

Art for Man's Sake: A Tribute to Ousmane Sembène
Samba Gadjigo
pp. 479-484

On "Mediated Solidarity": Reading Ousmane Sembène in Sembène!
Michael T. Martin
pp. 485-522

Ousmane Sembène: An Annotated Gallery
Cole Nelson, Eileen Julien
pp. 523-532

Dossier 3: African Women in Cinema
Beti Ellerson
pp. 533-535

African Women Professionals in Cinema: Manifestos, Communiqués, Declarations, Statements, Resolutions
Beti Ellerson
pp. 536-590

The Taking of the Cinemateca Brasileira
Darlene J. Sadlier
pp. 591-608

12 June 2021

African Women in Cinema - Sister Stories | Films about Sisters

African Women in Cinema
Sister Stories | Films about Sisters

Sisters of the Screen, the title of my ongoing project on African women in cinema, invokes the notion of a kinship shared through screen culture. Within this "sisterhood" are also experiences of sisters who have biological relationships. They come together as collaborators on film productions, protagonists in films, daughters of a famous filmmaker mother--keeping her torch alive.

Annouchka de Andrade and Henda Ducados, the daughters of Sarah Maldoror (1929-2020) are continuing the work of the existing Archives that Sarah created which entails retaining rights, recovering and restoring copies of films. Their objective is to ensure that Sarah's work continues to be visible and that the archives are available to all. Their heartfelt reflections on her as "filmmaker, woman and mother" provide a rare portrait both intimate and holistic, of Sarah's life; and at the same time, demonstrate the indelible mark she has left on them as daughters--children of cinema. Two sisters who in their own lives and work, continue their mother's journey to have "an impact on this world"…"always moving forward".

Similarly, Senegalese sister filmmakers Khady Sylla and Mariama Sylla, who collaborated on seven films together, were in many ways, "children of African cinema". Their mother worked at the secretariat of the Actualités Sénégalaises under the direction of Paulin Sumanou Vieyra, a breeding ground and site for the development of the young Senegalese cinema of the period. Nicknamed “Katanga”, it was the venue of hot debates about cinema and other cinematic trends--realism versus Soviet, Italian neorealism, New Wave, Brazil Novo Cinema.... (Translation, cited from Baba Diop, in French)

In her interview, journalist/film critic Djia Mambu asks Mariama Sylla about her experiences working with her sister Khady Sylla, who passed away in October 2013 and to what extent her passing influenced the ending of the film:

Mariama Sylla responded in this way:

"I started working with my sister at the age of 17; she is the one who trained me and introduced me to cinema and scriptwriting. The person I am today is the result of this long journey with Khady, the first-born of our family. I am the youngest and she and I often laughed about being at these two ends, despite the difference in age and education, we were able to come together."

"Khady's passing greatly influenced the final voice-over in the film but the visual editing is the same, as we had completed it just before her death. There are two voices in the film. The first is Khady’s, which was done in her presence, and the second is mine, which I wrote while finalising the film. I went through a moment of shock and anger, then slowly, the phrase in Césaire's work Notebook of a Return to My Native Land was constantly in my thoughts, and all this anger turned into a desire to write about my sister, to tell her a final goodbye, and this is how my voice was laid down in the film."

The film A simple parole was completed after Khady's death. In spirit, the two sisters continued their work together.

Belgian-Congolese sisters Cecile Mulombe Mbombe—cinematographer, and Pauline Mulombe—filmmaker, collaborated on their first joint project, the short film, Tout le monde a des raisons d'en vouloir à sa mère (Everyone has Reasons to be Angry with her Mother). While they have assisted each other on their respective work, this is the first time that they made a film together. They selected the sets and filming locations and did the storyboard together, while Cecile dealt with the technical side—the choice of the technical crew, the equipment and all of the tasks that entailed transforming the script to the realization of the film and Pauline focused on the creative side, hence, her ideas are represented on screen—in terms of her vision of the actors’ roles, the film set, the mise-en scène. Their proximity as sisters provided an immediate level of confidence and understanding in each other. Pauline emphasizes this point: "Only Cecile could know that when I said 'green', in fact, I meant 'blue'." Moreover, Tout le monde a des raisons d'en vouloir à sa mère follows the experiences of three sisters who were born and raised in Europe though their mother insists on raising them based on African values. In our interview, Pauline had this to say about the three sisters:
"The youngest wants to enjoy herself and grow and develop by making the most of European social and cultural life. The middle sister wants to utilize all of the possibilities available to resolve her problems, even if it means doing things that are unthinkable in her culture of origin, such as taking the birth control pill when still an adolescent. The oldest, even if she does not openly show her homosexuality, knows that she is 100% gay."

The daughters at the same time negotiate their relationship with their mother while attempting to understand each other as sisters and as young African women living in Belgium.

Mary-Noël Niba comedy series "Jane and Mary", in 6-minute episodes, employs comedy to explore the everyday experiences of the eponymous sisters Jane who is 21 and her sister Mary, who is two years younger. Though at the same time close, their contrasting personalities animate the twists and turns of life in Yaoundé, where they live with their uncle Fred who is a wealthy businessman. Many times, it is in the light-heartedness of humor or comedy that the drama in relationships, and otherwise difficult situations may be resolved. In our interview Mary-Noël describes the use of comedy in this way:
"The idea is to highlight those situations that we joke about, though are not very funny, or the everyday occurrences that we laugh off, but that we really want to find a way out of. The use of a cheerful and comical tone is to downplay dramatic situations. The denunciation of certain everyday problems in fact draws attention to these realities, which, because of their frequency, become almost ordinary." 
Hence, the emotional fluctuations in this sister-sibling relationship are treated with amusement and insouciance.

In constrast, Alda and Maria by Pocas Poscoal recounts the coming-of-age story of the eponymous 16 and 17 year-old sisters fending for themselves as they make their way in Lisbon. Hoping to reunite with their mother who ultimately does not make the voyage from worn-torn Angola. Partially autobiographical, Pocas draws from her and her sister's experiences as well as the many other Angolan immigrants. She had this to say about making the film:

"In the eighties, hundreds of adolescents were sent to Portugal to escape the war in Angola or to avoid military service. I was one of those young people. With very little money in our pockets, my mother put my sister and me on a plane to Lisbon. In war-affected Angola, Lisbon resonated in our ears like a promise of freedom. We arrived in that city with a heart full of hope. Though my mother was to join us soon afterwards, the Angolan state signed a decree banning anyone from leaving the country. At sixteen and seventeen years old, we were on our own in a Lisbon suburb..." (Cinemassy: Pocas Pascoal with Ciomara Morais, Cheila Lima. 2012).

Iman Djionne's film project in development, "Coura + Ouleye" centers on the relationship between 16 and 19 year-old Coura and Oulèye, paternal sisters born into the complex polygamous family in which their respective mothers are co-wives. After the unexpected death of their father they set off to find his will and in the process get to know each other. Iman had this to say about the theme of the film project: 
"The starting point of this story was wanting to explore what that bond could be like in this particular context where mothers are in conflict, living and raising their children apart. Can it exist, can it thrive even? By doing that, I wanted to examine how one man’s decision affects an entire family, informing who those individual members become and how they relate to the world… Starting out as mirror images of their mothers, Coura and Oulèye’s quest will take them outside of Dakar, far from their family’s burden and society’s expectations, to find a way through their sisterhood to break free from that mold, become their own, and in doing that, possibly bridge a broken community." (Director's Statement-Produire au Sud).

Hence, the notion of "sisters of the screen" broadens to include "sisters on screen" encompassing the collaboration, representation, relationships and connections of biological sisters. Off screen, they collaborate in their production and advocacy as makers and stakeholders. As image-makers African women are striving to create complex, realistic, multi-dimensional representations of sister-sibling relationships on screen.   

 Report by Beti Ellerson
Following are links to the posts on the African Women in Cinema Blog from which the above texts were drawn.

The Sisters Act of Cecile and Pauline

Alda and Maria by Pocas Pascoal

Une Simple Parole by Khady Sylla and Mariama Sylla

Interview - Mary-Noël Niba : Jane & Mary, the comedy series | la série comique

Iman Djionne (Coura + Oulèye) : La Fabrique 2020 - Les Cinémas du monde

Reflections on: Another Gaze presents. The Legacies of Sarah Maldoror (1929–2020)

07 June 2021

Recent Films. Thato Rantao Mwosa: Memoirs of a Black Girl

Thato Rantao Mwosa (Botswana)
Memoirs of a Black Girl (USA)
2021 - 76min - Fiction

Memoirs of a Black Girl is a coming-of-age story of a girl and her friends who are forced to grow up and make tough decisions. Aisha Johnson, an astute and bright student, is one of the finalists for a coveted scholarship. One day after Aisha does the right thing, her life spirals out of control and her once-promising future is in jeopardy. Aisha learns to survive, navigate life at school and on the unforgiving streets of Roxbury while keeping her eyes on the prize. (Source:

Boston-based Thato Rantao Mwosa from Botswana, is an illustrator, screenwriter and filmmaker. She completed her studies in Film Production and Marketing/Advertising Communication at Emerson College, after which she obtained a certificate from New York Film Academy and a MFA in Writing for Stage and Screen at Lesley University. Thato teaches TV, Film and Documentary Filmmaking at Brookline High School in Massachusetts. (Source: 

Memoirs of a Black Girl Trailer from thato mwosa on Vimeo.


06 June 2021

Indiegogo crowdfunding: Ampe Study or Leap into the Sky Black Girl (Ghana)

Indiegogo crowdfunding
Ampe Study or Leap into the Sky Black Girl (Ghana)

Description from Indiegogo: 
"Ampe Study", which follows the journey of Black girlhood through the lens of the Ghanaian traditional game ampe. Ampe is a rhythmic, high-energy game played by girls in Ghana, West Africa. It includes jumping, clapping, and an all-around cheer and hype as two teams select a stepping pattern and face off. The teams have leading players, referred to as “the mothers'', who start the game and encourage players to compete at their best. The innate joy and competitive edge of ampe reveals the desire that Black girls have to not only be set free, but to also feel a range of emotions without judgement.

For more information on the crowdfunding campaign and to make a contribution to support the research and production of the film:

Writer/Filmmaker Claudia Owusu has created a series of videos on Vimeo to discuss the project focus, its objectives, treatment, and conceptulization.

Ampe Study - Project Focus from Claudia Owusu on Vimeo.

Image created from Facebook photo.

27 May 2021

Women in Animation World Summit 2021 with keynote speaker Amma Y. Ghartey-Tagoe Kootin

Women in Animation World Summit 2021
with keynote speaker
Amma Y. Ghartey-Tagoe Kootin

The summit will be held June 14-19 2021 under the theme: “The Business Case for Diversity.” Keynote speaker Amma Y. Ghartey-Tagoe Kootin, Ph.D. is Lead Artist of AT BUFFALO: A New Musical and Vice President of Creative Affairs, JusticeRx

Women in Animation (WIA) envisions a world in which women share fully in the creation, production and rewards of animation, resulting in richer and more diverse entertainment and media that move our culture forward. The mission of WIA is to bring together a global community of animation professionals to empower and support women in the art, science and business of animation by increasing access to resources, creating opportunities for education, encouraging strong connections between individuals, and inspiring excellence.

24 May 2021

Recent films. Nthabiseng Mosieane: Overcome Beloved (Addressing Gender-based Violence)

Recent films. Nthabiseng Mosieane: Overcome Beloved (Addressing Gender-based Violence)

Overcome Beloved by Nathabiseng Mosieane, premiered on SABC1 (South African Broadcasting Corporation) this month highlighting the importance of raising awareness regarding gender-based violence. The short film follows the experiences of Nomhle Nkosana who is faced with the hard reality of sheltering with her daughter in a safe house. However, her husband discovers their whereabouts and Nomhle finally sees him for the monster he has always been and fighting for her life becomes her only option.

Nathabisend Mosieane, whose objective is to "document reel stories across Africa and the world" featured the 4-episode series, "Being a Woman in South Africa during Women's Month 2019 on YouTube. The series profiles a diversity of women who share they experiences about love, intimacy and relationships. See:

20 May 2021

African Women of the Screen and New Media

African Women of the Screen
and New Media
Beti Ellerson

The advent of social media and digital technologies marked a new era in African film production, spectatorship, reception, diffusion, critique and pedagogy. Its impact on the visibility of women and their work is undeniable, as these devices have become the dominant tools and strategies for visual exchange and communication. The emergence of an online community of African women of the screen since the 2010s has proven to be a game-changer as a network of stakeholders interconnected as colleagues, friends, fans, followers, group members, navigates within a collective virtual space.

The above observations, discussed in my article, “African Women of the Screen at the Digital Turn,” A Special Report featured in Alphaville: Journal of Film and Screen Media 10 (Winter 2015–16) <>, were drawn from my analysis of trends and tendencies and critical engagement of African women makers with the strategies and devices of new media and their evolution in screen culture practices. Since the report, written in 2016, social media is ever-present in all aspects of their screen culture practices. And the urgency of the cinema world's collective response as a result of the COVID-19 pandemic is evident in the pervasive presence of virtual environments. Forced into lockdown mode and social distancing, film festivals, screenings and related events, already scheduled throughout the remainder of the year quickly adjusted to the new reality. Some were postponed or cancelled, others spontaneously converted to online versions. The pandemic underscored the ubiquity of digital technologies, which quickly restructured the platforms and resources needed to support the ever-expanding transmedial practices of the moving image. The virtual event has become the norm. Zoom meetings, panel discussions and interviews, on-line festivals and film streaming and other transmedial events appear to be part of the future post-Covid-19 screen culture landscape.

The African Women in Cinema Blog regularly features African women makers' engagement with ever-evolving New Media technologies and its empowering and expansive influences on their work. Following are a few examples, which will be updated with relevant links.

The CNA, Cinéma Numérique Ambulant Afrique (Mobile Digital Cinema-Africa) : facing the challenges of/face à la COVID-19

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

Warkha TV : Briser le Silence (Breaking the Silence)

Monique Mbeka Phoba: "Sister Oyo", the importance of social media, and the Kisskissbankbank crowdfunding campaign

Single Rwandan / Celib Rwandais by/de Jacqueline Kalimunda analyse/analysis by/par Viviane Azarian

Ghanaian-German Jacqueline Nsiah’s digital Sankofa storytelling experience and other diasporic journeys

Julie Djikey: Performance "Ozonisation"

A Portait: Mayye Zayed

A Conversation with Angéla Aquereburu

19 May 2021

The African Diaspora International Film Festival celebrates Africa Month 2021: 2 Weeks in Lagos by Kathryn Fasegha (Nigeria/Canada)

The African Diaspora International Film Festival (NYADIFF) celebrates Africa Month 2021 with 2 Weeks in Lagos by Kathryn Fasegha (Nigeria/Canada) among the selection of films. Screenings and Zoom Q&As, from May 28 to May 31.

Kathryn Fasegha
2 Weeks in Lagos
Comedy Drama - 115min - 2019

2 Weeks in Lagos is a turbulent and thrilling journey into the lives of Ejikeme and Lola. Their lives collide when investment banker Ejikeme comes home from the United States with Lola’s brother Charlie to invest in Nigerian businesses. Upon meeting Lola, Ejikeme falls in love with her and must defy his parents’ plan to marry him to the daughter of a wealthy politician. 2 Weeks in Lagos captures the excitement, vibrancy, and complexity of everyday life in Lagos, a dynamic city where anything is possible in 2 Weeks.

For information on virtual event

12 May 2021

Black Camera: Fifty Years of Women's Engagement at FESPACO by Beti Ellerson (Fall 2020)

Black Camera: Fifty Years of Women's Engagement at FESPACO 
by Beti Ellerson (Fall 2020)

Black Camera: An International Film Journal
Part I: Pan-African Film and Television Festival of Ouagadougou (FESPACO): Formation, Evolution, Challenges. Volume 12, Number 1, Fall 2020, pp. 245-254

FESPACO has long served as a point of reference both in Africa and internationally. It has been the meeting point beyond the physicality of its bi-annual location, and holds a dominant place in the African cinematic imagination. What has happened, what is happening at the moment during its weeklong activities, and what will happen in its future are of significant import. Its legendary history continues to loom large in the annals of African cinema, and, the role that women have performed within it. Likewise, on the continent, in step with the global appeal for women's increased visibility on the cinematic landscape, a clarion call has been sounded: for parity in leadership indicative of women's capacity as decision-makers; and their place: as half of humanity. Employing a wide lens to explore trends, tendencies, and developments, this article will consider women's engagement at FESPACO, examining concomitantly, past accomplishments, present realities and future possibilities.

Published by: Indiana University Press
ALSO SEE PART II: African Women Professionals In Cinema: Manifestos, Communiqués, Declarations, Statements, Resolution by Beti Ellerson (Spring 2021)

05 May 2021

Livre/Book. Regards sur les migrations: Mobilités africaines entre écrit et écran

Regards sur les migrations:
Mobilités africaines entre écrit et écran
Sous la direction de Véronique Corinus et Daniela Ricci

Le cinéma, depuis de nombreuses décennies, cherche à saisir les divers aspects du phénomène migratoire, soucieux de traduire la tension des départs, la dureté des itinéraires, le désenchantement des arrivées mais aussi la richesse des rencontres multiculturelles. Le présent ouvrage entend interroger la manière dont les cinéastes issus des communautés africaines et diasporiques parviennent à en rendre compte, confrontés aux conditions de production, création et réception qui leur sont propres, dans un monde globalisé simultanément à l’origine d’inclusions et exclusions humaines et techniques.


Migration des hommes, des techniques et des imaginaires Véronique CORINUS et Daniela RICCI



Migrations et traversées dans les cinémas d’Afrique

Habiter le monde : cinémas d’Afrique en traversées
Olivier BARLET

Pour une industrie du cinéma pérenne sur le continent africain

L’art du montage et l’écriture documentaire pour dire sa vision du monde (entretien conduit par Daniela Ricci et Thierno Ibrahima Dia)

Pim Pim Tché - Toast de vie ! Le parcours d’un combattant (entretien conduit par Daniela Ricci)


Va-et-vient créatif. De l’écriture littéraire à l’écriture filmique
et inversement : l’exemple d’Isabelle Boni-Claverie et de Fabienne Kanor

Entre images, textes et corps (entretien conduit par Véronique Corinus et Thierno Ibrahima Dia) Fabienne KANOR

Échos et écueils de l’expérience migratoire (entretien conduit par Thierno Ibrahima Dia)
Ananda DEVI

Une écriture subjective pour bousculer les clichés raciaux de la société (entretien conduit par Daniela Ricci)
Du soukounian à Vanille : l’adaptation d’une légende créole en un film d’animation jeune public (entretien conduit par Véronique Corinus)
Guillaume LORIN et Antoine LANCIAUX


Éditions l’Harmattan

Livre/Book. Diffusion des cinémas d'Afrique et du Levant

Presence Francophone Numéro 95
Diffusion des cinémas d'Afrique et du Levant

04 May 2021

Black Women Disrupt: Web Series as a Radical Feminist Practice

Black Women Disrupt. Web Series as a Radical Feminist Practice:
In conversation with Jabu Nadia Newman


Master Class Wednesday May 5 2021

A 60-minute In-Conversation discussion with the creator of The Foxy Five:
In this live session we talk to Jabu Nadia Newman, creator of The Foxy Five, a web series born out of the South African #RhodesMustFall student movement. The Foxy Five sought to explore what intersectional feminism would look like on screen, and incorporated decolonial practices not only in its themes; but throughout its creative process. The Foxy Five is a testament to the power of web series to represent subversive and radical subject matter. Jabu will take us through her journey of creating The Foxy Five and share more about its distribution and reception.

30 April 2021

Atlanta Film Festival 2021. Candice Onyeama: Born Again (Nigeria/UK)

Atlanta Film Festival 2021
Candice Onyeama
Born Again
Narrative Short Competition
Candice Onyeama
Born Again
Fiction - 11min - 2020

Nwa, a British Nigerian woman, is tormented by her inability to have children until a transformative baptism leads her on a journey of healing and rebirth. A magical realism short story set in London.

Candice Onyeama is a Nigerian-British screenwriter and filmmaker and founder of the production company, Genesis Child Films, which focuses on stories by women of African descent.

26 April 2021

Girls in Film (GIF) South Africa and National Film and Video Foundation (NFVF) : Join the Conversation - How to get your film funded

Girls in Film (GIF) South Africa and National Film and Video Foundation (NFVF) : Join the Conversation - How to get your film funded




A conversation with the National Film & Video Foundation for tips and insights on how to be the most successful with funding applications.

The big question and one of the most difficult hurdles for filmmakers - How to get your film funded?

Girls In Film RSA got a team of super producers and representatives from South Africa's national film fund into the room to answer this exact question.

We'll discuss funding avenues, structuring funding applications and the May 7th deadline for micro-budget funding offered by The NFVF and Netflix.

There will be opportunity for the audience to ask questions too.

While focusing on South African film industry, there will be a lot of valuable advice for our international members too!

The discussion will be moderated by Tiny Mungwe (Documentary Film and Arts Producer), with panelists Refiloe Hlabioa (NFVF Production Manager), Nombuso Magubane (NFVF Marketing and Communication Manager), Lesedi Moche (Producer & Documentary Programmer at DIFF 2021).

Follow Girls In Film South Africa on Instagram @girlsinfilm_rsa

Visit the NFVF website to see all available funding opportunities

19 April 2021 Karima Saïdi : Dans la maison | A Way Home  Karima Saïdi: Dans la maison | A Way Home

Karima Saïdi
Dans la maison | A Way Home
Maroc/Morocco | Belgium | France - 2020 - 90min

Disponible du 19/04/2021 au 24/06/2021
Prochaine diffusion le mardi 27 avril à 00:50

Au chevet de sa mère, une fille reconstitue le puzzle de son histoire familiale. Un regard vibrant d’amour sur un destin marqué par l’exil. Mariée à 14 ans, Aïcha a élevé seule ses enfants avant de rejoindre, dans les années 1960, son premier mari en Belgique. Loin des ruelles de Tanger, elle a ouvert un nouveau chapitre de son histoire, avec ses non-dits et ses silences. Une vie faite de mariages et de séparations, d’interdits et de libertés, de joies et de deuils. Atteinte de la maladie d’Alzheimer, Aïcha, vieille femme au corps fatigué, a vécu ses derniers moments dans un établissement spécialisé. Renouant le lien, Karima, l’une de ses deux filles, a cherché à reconstituer l’odyssée cabossée de leur famille. 

Les mots sont parfois murmurés, les plans morcelés, à l’instar de ce qui se brouille et s’entremêle pour Aïcha, au seuil de la mort. Dans ce film intimiste, empli de pudeur et de souvenirs, Karima Saïdi, qui avait déjà consacré en 2017 un court métrage à sa mère lors de son placement en résidence médicalisée (Aïcha), l'interroge avec patience. Elle s’attache à lui faire dérouler les pages de leur roman familial au fil des choix, contraints ou volontaires, qui furent les siens. Empreint de délicatesse, un regard vibrant d’amour sur un destin marqué par le poids de la religion, de la culture et de l’exil.

When filmmaker Karima Saïdi’s mother Aïcha develops Alzheimer’s at the end of her life, Karima decides to make a film portrait of her at her Brussels care home. Before oblivion descends for good.
Aïcha is becoming increasingly confused, and Karima takes her on mental journey back into her past. The filmmaker uses Aïcha’s stories and a wide range of family archive material to create an impression of Aïcha’s life. We start with her youth in Morocco, are shown how her husband brought her from Tangiers to Belgium, and how she later went on to raise her children as a single mother.
Aïcha’s answers to her daughter’s many and often repeated questions reveal the extent to which she has struggled with tradition, the position of women, and living between two cultures. And then there is the complex relationship between the two women themselves: Aïcha and her youngest daughter Karima. The daughter sparingly interweaves scenes of her mother as she is now with her personal history, in loving and poetic moments that capture life’s finite and fragile nature. (Source: