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.

ABOUT THE BLOGGER

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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 March 2021

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

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

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

awaffest: http://awaffest.org/

Streaming on April 1

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


 

25 March 2021

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

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

https://nyadiff.org/

 
 
Women's History Month Film Series Line-Up

Fictions

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

Angelica by Marisol Gómez-Mouakad (Puerto Rico)

Myopia by Sanae Akroud (Morocco)

Foreign Body by Raja Amari (Tunisia)

Made in Bangladesh by Rubaiyat Hossain (Bangladesh)

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

Stand Down Soldier by Jeryl Prescott Sales (USA)

Documentaries

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

Barrow, Freedom Fighter by Marcia Weekes (Barbados)

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

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

Shorts

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

24 March 2021

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

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

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

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


20 March 2021

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

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

Documentary
Tunisia - 2020 - 90mins


Source: unifrance.org

Synopsis

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

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

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

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

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




19 March 2021

FESCAAAL 2021 (Festival Cinema Africano Asia America Latina) Milano. Featuring the theme: Donne sull’orlo di cambiare il mondo | Women on the verge of changing the world

 
FESCAAAL 2021
 
Festival Cinema Africano Asia America Latina Milano
 
Donne sull’orlo di cambiare il mondo
Women on the verge of changing the world
 
FESCAAAL
African, Asia and Latin America Film Festival
https://www.fescaaal.org

20-28 March 2021
Artistic directors:  Alessandra Speciale and Annamaria Gallone

The #FESCAAAL 30 is woman!  7 directors from 7 countries around the world to discuss their personal experiences, 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.

A thematic section entitled: "Women on the verge of changing the world"

A section on recent films by women directors from Africa, Asia and Latin America

A women-helmed official jury with Michela Occhipinti, Hinde Boujemaa and Beatriz Seigner

A roundtable entitled "Private spaces, global issues, contemporary visions. How cineastes from three continents change the vision of the world.

14 March 2021

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

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

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

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

Synopsis

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

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

13 March 2021

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

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

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

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

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

12 March 2021

African Women Journalists: Critical Engagements in African Cinemas

African Women Journalists: Critical Engagements in African Cinemas


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

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

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

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

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

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

Algerian Horria Saïhi is perhaps best known for her indefatigable work as journalist, reporter, and filmmaker against government censorship and religious fundamentalism. She was a 1995 laureate of the "Courage Award" presented by the International Women's Media Foundation.

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

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

Hortense Assaga created the magazine Cité Black Paris, hosts several cultural programs and regularly reports on cultural events for Africa 24 and Canal+ Afrique. Togolese film critic Sitou Ayité wears multiple hats as producer, scriptwriter and director. Amina Barakat from Morocco, navigates the local film culture scene as well as throughout the continent. Franco-Burkinabé Claire Diao traverses an array of transmedia networks: podcasts, audio-visual programming, itinerant film curation, and diverse print media. Cameroonian journalist Stéphanie Dongmo, blogger, president of the Cameroon chapter of CNA, Cinema Numerique Ambulant, the extensive network of mobile cinema in Africa and Europe, is also a novelist. Falila Gbadamassi, journalist, film critic and social media editor, informs and wants to be informed about Africa in particular. From Nollywood to Bollywood via Hollywood, she is both a film enthusiast and critic. She writes for Africiné Magazine (Dakar), among other media. France-based independent journalist Amanda Kabuiku collaborates with several publications. Belgo-Congolese Djia Mambu keeps a visible presence at the important network of African film festivals, Cannes and beyond. Cameroonian journalist and film critic Pélagie Ng'onana is an editor at the Dakar-based Africiné Magazine and collaborates with the Yaoundé-based cultural revue Mosaïques. Domoina Ratsara from Madagascar is president of the Association des Critiques Cinématographiques de Madagascar (ACCM) which she co-founded in December 2018Senegalese Fatou Kiné Sene is general secretary of the Senegalese Film Critics Association. The goal of Senegalese Fatou Warkha, creator of the online television channel Warkha TV is to change attitudes and laws, giving a face and voice to everyone who has been forgotten by the authorities.

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




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

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

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

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

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

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

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

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

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

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

07 March 2021

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

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

Image: unifrance.org

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

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

Synopsis

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

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

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

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

06 March 2021

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

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

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

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

After film discussion for Finding Sally with Tamara Mariam Dawit 

 

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

05 March 2021

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

Interview with Manele Labidi director of "Arab Blues"

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


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

Interview with Manele Labidi director of "Arab Blues"

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

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

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


Whispering Truth to Power” tells the dramatic story of Thuli Madonsela, South Africa’s first female Public Protector. It’s an official position similar to an Ombud. Madonsela fought against corruption amongst the country’s most powerful politicians at great personal cost.

The film is part portrait; we see her as a boss, mother, and public hero. It also plays out as a gripping political drama — Madonsela ends her last year in office with a dramatic final battle against the country’s President, who has been accused of colluding with a wealthy family to “capture the state.”

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

04 March 2021

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

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

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

 

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

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

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

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

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

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

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

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

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


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

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

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

02 March 2021

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

WILD TRACK SPECIAL

The Picture My Life Project (PML)

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

PRESS RELEASE

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

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

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