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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26 January 2026

"Bones" a documentary by Normandla Vilakazi about the repatriation of Saartjie Baartman

"Bones" a documentary by Normandia Vilakazi about the repatriation of Saartjie Baartman


You are never alone. Sara is with you always. And through this film, I hope to spread that message wide and far. There are no coincidences, and your existence as a Black Woman is more glorious than you realise." Nomandla Vilakazi

Directed by Nomandla Vilakazi, Bones is a documentary that explores the repatriation of Sara 'Saartjie' Baartman and the fight to return her home to South Africa in 2002.

Told through the lens of the poet and writer Dr. Diana Ferrus, she retells the story of the return, highlighting the power of the pen to lead the charge in restorative justice and the promotion of ancestral healing.


Presented by SARA'S ECHO, Bones is part of an educational femicide and gender-based violence (FGBV) awareness project that uses powerful documentary films and interactive workshops to contribute to critical issues like FGBV, consent, body autonomy, and respect for ourselves and others.


Source: https://www.iziko.org.za/events/bones/


Biography 


Nomandla Vilakazi worked on this documentary as a thesis for the Master's of Documentary Arts course at the University of Cape Town. In her documentary, Ms Vilakazi shares the different names of Sarah Baartman, though she refers to her as “Sara” in the film.

Ms Vilakazi was originally born in KwaZulu-Natal and grew up in Johannesburg. In this documentary, there are narrations from Ms Vilakazi, Anneline Kotze, who is one of the curators of exhibitions at Iziko Museums, and Hassna Ait Taleb, who at the time of filming, was a Master's student in the African Feminist department.


24 January 2026

1-24 - International Day of African and African-descendent Cultures: Featuring The Africas/Diasporas of Women in the Evolution of a TransAfrican Film Practice and Critical Inquiry

 

International Day of African and African-descendent Cultures

Featuring 
The Africas/Diasporas of Women in the Evolution of a 
TransAfrican Film Practice and Critical Inquiry 
curated by Beti Ellerson
Black Camera: An International Film Journal

Excerpted from introduction:

The objectives of the Close-Up, The Africas/Diasporas of Women in the Evolution of a TransAfrican Film Practice and Critical Inquiry: to recover, to chronicle, to affirm, to reimagine even, African/Diasporan women’s cinematic world-making, indeed self-making—envisioning the manners in which they devise, create, make, a space, a universe, a domain, a world; within which they may tell/relate their stories—storytelling as a project of world-making through cinema.

The Close-Up asks questions regarding the tenets of an African/Diasporan cinematic practice/tradition shaped by women: its beginnings, the forces that compelled, facilitated and informed it, the requisite approaches needed to formulate it, and the propositions on which to explore its cultural, political, and social manifestations.

The title “The Africas/Diasporas of Women in the Evolution of a TransAfrican Film Practice and Critical Inquiry” calls attention to the multiplicity of locations, providing a place for the explication of African/diasporic histories (historical and new Diasporas), as well as an elaboration of the peregrinations as well as the negotiation of hybrid, indeed symbiotic, identities of so many of these women.

06 January 2026

Black Camera: "Faire boutique": Reframing Safi Faye's Place in Petit à Petit, by Jean Rouch (by Beti Ellerson - Vol. 17, No. 1 Fall 2025)


  
Black Camera: An International Film Journal
Vol. 17, No. 1 (Fall 2025) 
"Faire boutique": Reframing Safi Faye's Place in Petit à Petit, by Jean Rouch
by Beti Ellerson

https://muse.jhu.edu/article/978622

The article follows Safi Faye's pre-cineaste experience with the film Petit à Petit (1971), by Jean Rouch. A time during which the spirit of May 1968 and its philosophy "it is forbidden to forbid" had a profound impact on her life. It was this spirit that she instilled in her character Safi, a role that she created and interpreted. While Rouch designated the themes, the actors themselves improvised their own characters. Thus, Faye invented her personage Safi. Based on the long, three-episode, noncommercial version, which Rouch himself viewed as "the only valid, true version," the article proposes a reflection on Faye's contributions to and experiences during the making of the film. 

Black Camera: An International Film Journal, Issue 17.1 Fall 2025

Black Camera: An International Film Journal, Issue 17.1
 
Vol. 17, No. 1 Table of Contents:         

 

IN FOCUS:

The Future of African Filmmaking: A Roundtable Discussion

 By: Akin Adesọkan and Michael T. Martin

 

PEER-REVIEWED ARTICLES:

 

Filming Precarious Subjects: A Conversation with Amandine Gay and Enrico Bartolucci 

By: Jimia Boutouba

 

CLOSE-UP: 

SAMBIZANGA: AESTHETICS AND POLITICS IN SARAH MALDOROR’S FILM

 

Sambizanga (1972): Aesthetics and Politics in Sarah Maldoror’s Film: An Introduction

By: Gust Burns

Sambizanga Unfolded: Nationality, Translation, and Feminism in a Revolutionary Film 

By: Sofia Afonso Lopes

Sambizanga: The Thin Green Line Between Canons and Revolutions
By: Jennifer Blaylock
Anticolonial Public Service? Swedish Television and the Funding ofSambizanga
By: Christian Rossipal
Aesthetics of Liberation: Carceral Intimacies in Sarah Maldoror’s Sambizanga
By: Dineo Maine 
On Screening Sambizanga in Lagos: A Conversation by the Monangambee Film Collective
By: Alicia Abieyuwa Bergamelli, Chrystel Oloukoï and Esé Emmanuel
Reflections on Sarah Maldoror’s Sambizanga: An Interview with Annouchka de Andrade
By: Gust Burns

 

CLOSE-UP:

REVISITING SARA GÓMEZ
Revisiting Sara Gómez: An Introduction
By:Jamie Ann Rogers
Agnès Varda, Sara Gómez, and the Communist Semidocumentary 
By: Julia Alekseyeva
Reviving Gestures and Insect Life in the Films of Sara Gómez: Ethical and Aesthetic Issues of Digital Restoration
By: Rebecca Gordon

 

AFRICAN WOMEN IN CINEMA DOSSIER:
“Faire boutique”: Reframing Safi Faye’s place in Petit à Petit by Jean Rouch
By: Beti Ellerson

 
OLIVIER BARLET DOSSIER:
The Sembène and Vieyra Archives in Bloomington: An Interview with Alain Sembène, Jacques Vieyra, and Stéphane Vieyra
By: Olivier Barlet

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