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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23 September 2026

Peaux noires : quel héritage ? (The heritage of blackness) Estelle Ndjandjo et Johanna Boyer-Dilolo | TV5MONDE Documentaires

Peaux noires : quel héritage ? (The heritage of blackness)
Estelle Ndjandjo et Johanna Boyer-Dilolo
TV5MONDE Documentaires 


Cette série documentaire donne la parole à celles et ceux qui la vivent, entre mémoire, luttes et fierté. À travers des témoignages personnels, des interventions d’experts et une mise en scène visuelle innovante, le projet explore l’évolution historique et culturelle de la représentation de la peau noire – d’un passé où elle était à la fois source de fascination et d’oppression à une ère contemporaine où l’affirmation de soi et le self love prennent tout leur sens.

Between memory, struggles and pride, this documentary series gives voice to those who live it. Through personal testimonies, conversations with specialists and creative mis en scène, the project explores the historical and cultural evolution of the representation of blackness – from a past where it was both a source of fascination and oppression to a contemporary era where self-affirmation and self-love take on their full meaning.

“Peaux noires : quel héritage ?” - Tout Droits Réservés - 2026

Une production : TV5MONDE et La Félicité
Réalisé par : Estelle Ndjandjo et Johanna Boyer-Dilolo
Produit par : Giusse Lalois
Chef opérateur : Everdy Ndombaxe
Compositeur de la musique originale : Edgard Chenest
Chef monteuse : Yasmina Jaafri
Danse et chorégraphie : Maël Mitrail, Michelle Tshibola
Création Graphique : Rokneddine Diabi
Consultante en écriture : Louise Rubi
Chargé de développement : Guillaume Donot

Avec : Dimitri Andrew, Christelle Bakima Poundza, Peinda Bana Doumbia, Tiah Beye , Solène Brun , Naomi Boulay Pesenti, Lenny Cizo, Charles-Edouard Eboa, Tracy Gotoas, Juste Shani, Rachel Kéké, Lisa, Pr Antoine Mahé, Aïssa Maïga, Estelle Mendy, Diarra Sourang, Naïl Ver-Ndoye, Eva Camara, Shegun Mensah-Beauclair, Hamady Lollia, N’namou Sambu

  

20 September 2026

France Culture - L'Instant poésie (Instant poetry) of Séphora Pondi, actress, novelist and theater director


France Culture
L'Instant poésie (Instant poetry)
 of Séphora Pondi, actress, novelist and theater director

Text adapted from French and image from France Culture. Included is the French-language podcast of the 20 episodes 

Between poetry, theater and autofiction, the actress, novelist and theater director Séphora Pondi, of the Comédie-Française, presents a selection of poetic texts that reflects her, inspires her and drives her passion.

Born in Gennevilliers in 1992 to parents of Cameroonian origin, Séphora Pondi often says that she grew up between several cities, moving as many as ten times before she was eighteen years old. She was six years old when she stepped on the stage for the first time, at the MJC du Val-de-Marne: at that moment her passion for theater was born. The defining experience that set in motion the evolution of her career took place in high school when attending a theater workshop. After completing her baccalaureate, she devoted herself to the stage, which include several professional theater training programs. Marked by many pivotal artistic encounters, notably with Julie Berès, Valérie Dréville and Éric Ruf, Séphora Pondi envisions theater as a place of exacting transformation where the body, language and the imaginary are intimately linked.

It was in 2021 that she joined the prestigious Comédie-Française as a resident member, where she quickly established herself in essential roles in the repertoire, such as Kent in William Shakespeare's King Lear directed by Thomas Ostermeier, and in the title role of Medea—a dream role since adolescence. Séphora Pondi is also making her mark in cinema: in Mémoire de fille by Judith Godrèche—adapted from the work of Annie Ernaux, in theaters on September 30, and Soudain by Ryūsuke Hamaguchi, in theaters since August 12.

Parallel to her career as actress, she has long cultivated a passion for reading and for literature: her first novel, Avale, published by Grasset, was released in September 2025, and which received the Prix Roman des étudiants France Culture. And it is this devouring passion [to note, avale translates to devour, to swallow from French] that she shares in L'Instant Poésie, through its "carte blanche". For Séphora Pondi, poetry is above all an experience at the intersection of sound, movement, and rhythm.

In this selection are: her foundational poems by Henri Michaux, André Breton, Sylvia Plath, Léon Gontran Damas, René Despestre, Vladimir Maïakovski, the theatrical texts that continue to inspire her, ranging from Peter Handke, to Seneca, to Anton Chekhov. But there are also novels that skirt the edges of autofiction with authors such as Maryse Condé, Nelly Arcan, Constance Debré, Annie Ernaux. Also included are the prose of James Joyce, of Aimé Césaire as well as the romantic poetry of Victor Hugo and Baudelaire.

19 September 2026

Le Podcast de Rokhaya Diallo avec Annie Ernaux: « Je porte la mémoire du stigmatisé » (I carry the memory of the stigmatized)

En Bonne Voix - le pouvoir de la parole. Le Podcast de Rokhaya Diallo
Avec Annie Ernaux: « Je porte la mémoire du stigmatisé » (I carry the memory of the stigmatized)

Publié sur YouTube le 16 septembre 2026, Rokhaya Diallo parle de l’invitée exceptionnelle, Annie Ernaux :

"Dans cet épisode spécial, j’ai l’immense honneur de recevoir une légende vivante: la romancière Annie Ernaux. Une femme de convictions d’une humilité confondante. Prix Nobel de littérature, elle est une subtile chroniqueuse de l’époque contemporaine. Son style souvent péjorativement qualifié de « simple » ce qui l’indiffère au plus haut point - a su rendre lisible des phénomènes sociaux complexes avec une fluidité rare. Dans notre entretien, elle revient sur son parcours de jeune normande filles de commerçants confrontée à la domination de classe: sur les bancs de l’école déjà, elle « comprend sa place ». Notre conversation révèle d’ailleurs une impressionnante mémoire des détails tant elle égrène les petites phrases stigmatisantes, les remarques blessantes restées vives dans esprit malgré les décennies écoulées. Le le thème d’une honte sociale longtemps d’ailleurs un fil très présent dans ses récits constelle notre conversation. Et Annie Ernaux étant une femme très engagée, nous avons parlé de politique. Celle qui était adolescente pendant la révolution algérienne, évoque sa sensibilité ancienne." 

Translation to English:
"In this special episode, I have the great honor of receiving a living legend: the novelist Annie Ernaux. A woman of conviction, of an astonishing humility.

Laureate of the Nobel Prize in Literature (2022) she is a skillful chronicler of the contemporary era. Her style has been described by some pejoratively as "simple". A description to which she is manifestly indifferent. To the contrary her writing has been able to make complex social phenomena readable with a rare fluidity. During the interview, she reflects on her journey as a young Normand daughter of shopkeepers, confronted with class domination: on the school bench she already "knows her place". Moreover, throughout the conversation there is an impressive memory of the details regarding small yet stigmatizing comments, the hurtful remarks, all of which remain alive, vivid in her mind, despite the passing of decades. The theme around social shame, very much present in her work, navigates throughout the conversation. And as Annie Ernaux is very politically and socially engaged, politics is part of the conversation. Having been a teenager during the Algerian revolution, she revives these sentiments from the past.

 

14 September 2026

Réparer le visible : La Cinémathèque Afrique, histoire et devenir d'une collection sous la direction de Farah Clémentine Dramani-Issifou (Repairing the visible: La Cinémathèque Afrique, history and futurity of a collection)

Réparer le visible : La Cinémathèque Afrique, histoire et devenir d'une collection sous la direction de Farah Clémentine Dramani-Issifou
(Repairing the visible: La Cinémathèque Afrique, history and futurity of a collection)

Résumé :

Réparer le visible (Repairing the visible) est la première histoire critique de la Cinémathèque Afrique. Cette collection exceptionnelle de films africains, conservée, restaurée et diffusée par l’Institut français, circule à des fins non commerciales dans le monde entier, auprès des festivals, des cinémathèques et du réseau culturel français. L’ouvrage retrace la généalogie d’un fonds né du Bureau du cinéma de la Coopération française, dispositif créé en 1961, qui a accompagné l’émergence des cinéastes africains tout en prolongeant des logiques de dépendance postcoloniale. Ce faisant, il explore les mémoires vivantes portées par plus d’un demi-siècle de cinémas africains et esquisse les devenirs d’une collection. Préfacé par Bénédicte Savoy, il croise les voix d’historiennes et d’historiens du cinéma, critiques, archivistes, cinéastes, programmateurs, fédérations de ciné-clubs, chercheuses et chercheurs africains et diasporiques, et propose des voies nouvelles pour des devenirs possibles et des futurs réparateurs. À l’heure où la restitution du patrimoine culturel africain reconfigure les rapports entre institutions du Nord global et du continent africain, les voix qui exigent l’accès à ces images depuis soixante ans réaffirment ici leur souveraineté culturelle. En s’associant à Marest Éditeur pour cette coédition, l’Institut français inscrit la Cinémathèque Afrique dans le champ de la recherche et de la critique, et ouvre ce patrimoine partagé aux publics des deux continents. Cet ouvrage a été réalisé avec le soutien du ministère de l’Europe et des Affaires étrangères. Réparer le visible est la première histoire critique de la Cinémathèque Afrique.

Summary: 

Réparer le visible (Repairing the visible) is the first critical history of the Cinémathèque Afrique. This exceptional collection of African films, preserved, restored and distributed by the French Institute, circulates around the world for non-commercial purposes, at festivals, film libraries and the network of French cultural centres. The book traces the genealogy of a collection that emerged from the Bureau du cinéma de la Coopération française, a system created in 1961, which at the same time supporting the emergence of African filmmakers, promulgated the logic of postcolonial dependence. In so doing, the book explores the lived memories of African cinemas, transmitted for more than half a century; while outlining the futurity of a collection. Prefaced by Bénédicte Savoy, it intertwines the voices of film historians, critics, archivists, filmmakers, programmers, film club groups, African and diaspora researchers; proposing new paths for future possibilities and reparations. At a time when the restitution of African cultural heritage is reconfiguring the relations between institutions of the global North and the African continent, the voices that have demanded access to these images for the past sixty years are now reaffirming their cultural sovereignty. By partnering with Marest Éditeur for this co-edition, the French Institute inscribes the Cinémathèque Afrique in the field of research and criticism, and opens this shared heritage to audiences on both continents. This book was produced with the support of the Ministry of Europe and Foreign Affairs. Réparer le visible (Repairing the visible) is the first critical history of the Cinémathèque Afrique.

09 September 2026

African Women in Cinema Dossier by Beti Ellerson: a regular feature of Black Camera, An International Film Journal

 
African Women in Cinema Dossier by Beti Ellerson:
a regular feature of Black Camera, An International Film Journal 


Black Women at the Louvre, Practices of Worldmaking, and the Rehabilitation of Disfigured Images: Reflections on Alice Diop's Fragments for Venus by Beti Ellerson (Spring 2026)

"Faire boutique": Reframing Safi Faye's Place in Petit à Petit, by Jean Rouch
https://africanwomenincinema.blogspot.com/2026/01/black-camera-faire-boutique-reframing-safi-faye-petit-a-petit.html

Reading, Writing, Researching African Women in Cinema—Reflections on Sisters of the Screen-25 years and the African Women in Cinema Dossier 10 years onward by Beti Ellerson
 
Closeup: The Africas/Diasporas of Women in the Evolution of a TransAfrican Film Practice and Critical Inquiry
https://africanwomenincinema.blogspot.com/2024/06/closeup-africas-diasporas-of-women-black-camera.html

“I dared to make a film”: A Tribute to the Life and Work of Safi Faye
 
Exploring African Women’s Cinematic Practice as Womanist Work (Spring 2023)

La noire de..., La passante and Many Others: Framing Cinematic Representations of Afro-Descendant Women, Identity, and Positionality in France (Fall 2022)

African Women Professionals In Cinema: Manifestos, Communiqués, Declarations, Statements, Resolutions by Beti Ellerson (Spring 2021)
https://africanwomenincinema.blogspot.com/2021/06/black-camera-african-women-manifestos.html
 
Fifty Years of Women's Engagement at FESPACO. IN Part I: Pan-African Film and Television Festival of Ouagadougou (FESPACO): Formation, Evolution, Challenges (Fall 2020)
https://africanwomenincinema.blogspot.com/2021/05/black-camera-fespaco-fifty-years-of-womens-engagement.html.html

African Women, Cinema, and Leadership: Empowerment, Mentorship, and Role-Modeling (Spring 2020)

African Women on the Film Festival Landscape: Organizing, Showcasing, Promoting, Networking (with Falila Gbadamassi) Fall 2019
Safi Faye's Mossane: A Song to Women, to Beauty, to Africa (Spring 2019)

African Women of the Screen as Cultural Producers: An Overview by Country  (Fall 2018) https://africanwomenincinema.blogspot.com/2018/11/black-camera-african-women-of-screen-as.html


On-screen Narratives, Off-screen Lives: African Women Inscribing the Self (Spring 2018) https://africanwomenincinema.blogspot.com/2018/05/black-camera-on-screen-narratives-off.html

Traveling Gazes: Glocal Imaginaries in the Transcontinental, Transnational, Exilic, Migration, and Diasporic Cinematic Experiences of African Women (Spring 2017) https://africanwomenincinema.blogspot.com/2017/05/black-camera-spring-2017-beti-ellerson.html

African Women and the Documentary: Storytelling, Visualizing History, from the Personal to the Political (Fall, 2016) https://africanwomenincinema.blogspot.com/2016/10/african-women-and-documentary.html

Teaching African Women in Cinema, Part Two (Spring 2016) https://africanwomenincinema.blogspot.com/2016/06/teaching-african-women-in-cinema-part.html

Teaching African Women in Cinema, Part One (Fall 2015) https://africanwomenincinema.blogspot.com/2016/02/teaching-african-women-in-cinema-part.html

06 September 2026

Pocas Pascoal : Internazionale di arene decoloniali - 8 settembre

Pocas Pascoal
Internazionale di arene decoloniali
8 settembre

Time to Change (documentario breve, Angola/Portogallo, 2024, 7’
Por aqui tudo bem (fiction/drama, Portogallo, 2011, 94’

Testo & immagine:

Regista, direttrice della fotografia e sceneggiatrice, Pocas Pascoal è nata in Angola e ha studiato cinema a Parigi.

Il suo lavoro attraversa i temi dell’esilio, della memoria collettiva e delle conseguenze della guerra e della colonizzazione. Ha realizzato documentari e cortometraggi e partecipato a numerose esposizioni internazionali.

Con il suo film Alda e Maria, acclamato dalla critica, ha ricevuto diversi riconoscimenti internazionali. Nel 2024 ha inoltre partecipato al progetto collettivo GREENHOUSE, presentato alla Biennale di Venezia.

05 September 2026

Black Gaze – Mostra de Cinema Negro em Portugal | Showcase of Black Cinema in Portugal - 08, 09, 15, 16 nov

Black Gaze – Mostra de Cinema Negro em Portugal | Showcase of Black Cinema in Portugal
08, 09, 15, 16 nov
 
 
 
Image: «Latitude Fénix» (2024) © KUSSA productions / On Time Entertainment / Welket Bungué 
 
Construídas em torno dos temas Entre-Lugar, Memória e Ancestralidade, Ecologia e Feminismo, Antirracismo – Família e Rua, as sessões contam com a presença de cineastas para conversar com o público sobre as obras apresentadas.
 
A seleção inclui obras de Denise Fernandes, Fábio Silva, Falcão Nhaga, Lolo Arziki, Melissa Rodrigues, Mónica de Miranda, Pocas Pascoal, Raquel Lima, Silas Tiny, Vanessa Fernandes e Welket Bungué.
 
O título deste ciclo, que tem curadoria de Kitty Furtado, parte da ideia de que to gaze não é o mesmo que olhar (to look), implica uma relação de poder assimétrico entre quem olha e quem é objeto desse olhar. É possível adquirir um passe diário ou um passe geral, para além do bilhete individual de cada sessão.
 
***
 
This exhibition aims to showcase the cinema of afrodescendant people produced in Portugal in recent decades and to contribute to the emerging critical discourse. Structured around the themes ‘In-between places’, ‘Memory and Ancestry’, ‘Ecology and Feminism’, and ‘Anti-racism – family and neighborhood’, the sessions are followed by a Q&A with the filmmakers and audience.
 
The selection includes films by Denise Fernandes, Fábio Silva, Falcão Nhaga, Lolo Arziki, Melissa Rodrigues, Mónica de Miranda, Pocas Pascoal, Raquel Lima, Silas Tiny, Vanessa Fernandes and Welket Bungué.
 
The title of this cycle, Black Gaze, organized by Kitty Furtado, has as a point of departure, the idea that “to gaze” is not the same as looking (to look), hence, it implies an asymmetrical power relationship between the one who looks and the one who is the object of this gaze.

04 September 2026

Non Noto, il documentario di Tezeta Abraham, che indaga la storia coloniale italiana e le sue eredità - Intervista di Fabiola Celenza

Non Noto, il documentario di Tezeta Abraham, che indaga la storia coloniale italiana e le sue eredità - Intervista di Fabiola Celenza
 
Testo & immagine: https://www.africarivista.it/nn-non-noto-intervista-tezeta-abraham/320553/ 
 
Raccontando sia il dramma dei figli non riconosciuti nel Corno d’Africa sia le trafile burocratiche odierne delle seconde generazioni, il documentario NN – Non Noto dimostra come gli ostacoli alla cittadinanza affondino le proprie radici nelle omissioni e nei pregiudizi del passato. Ne abbiamo parlato con la regista Tezeta Abraham in vista della proiezione del film durante il festival romano Arene Decoloniali
 
Il documentario “NN – Non noto” sarà proiettato giovedì 10 settembre durante il Festival Arene Decoloniali,organizzato a Roma da Un Ponte Per, e di cui Africa Rivista è media partner

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03 September 2026

Alice Diop, the 2026–27 Avenali Chair in the Humanities at UC Berkeley

Alice Diop, the 2026–27 Avenali Chair in the Humanities
at UC Berkeley

https://villa-albertine.org/va/events/alice-diop-in-person-bampfa/

Image source: villa-albertine.org

Alice Diop in person at Berkeley Art Museum and Pacific Film Archive for a retrospective of her work from 3-18 September

Program: screenings and conversations 

Saint Omer,  2022  - 3 September  (in conversation: Alice Diop and Debarati Sanyal)

We,  2021 
- 4 September (in conversation: Alice Diop and Maya Sidhu)

On Call,  2016 
- 10 September (in conversation: Alice Diop and Iggy Cortez)

Danton’s Death,  2011 and Towards Tenderness, 2016 - 13 September (in conversation: Alice Diop and Damon Young)

Senegalese Meet Scene-Gallic,  2007, and Fragments for Venus, 2025 
- 18 September (film introduction by Maya Sidhu)

02 September 2026

A Poet with a Camera: The Cinema of Sarah Maldoror - BFI Southbank - 2-30 septembre 2026

A Poet with a Camera: The Cinema of Sarah Maldoror
BFI Southbank
2-30 septembre 2026

Text and Image : BFI Southbank

Description
This exploration of an intimate and poetic body of work highlights a filmmaker whom history almost erased. Her highly subversive, revolutionary and very African cinema also reveals her love for the arts and commitment to exist as a woman and filmmaker. It also highlights her constant and unwavering support for her partner – her compagnon de route – the Angolan poet and politician Mário de Andrade. 

Season programme (Annouchka de Andrade, season curator)


Season Introduction: Poetry in My Soul

Sarah Maldoror Herself + discussion with Annouchka de Andrade

Sambizanga + intro (Annouchka de Andrade and Henda Ducados)


Sambizanga + pre-recorded Q&A with Sarah Maldoror

Sarah Maldoror’s classic feature reveals the human cost of colonial oppression during Angola’s struggle for independence.

Rebellion

Three films by Sarah Maldoror about Aimé Césaire.

Passing through Paris

All to Mexico!

Poetry Is Political: portraits of René Depestre, Ana Mercedes Hoyos and imé Césaire.

When I Don’t Sleep, I Dream

From Saint-Denis to Algiers

French-Algerian history is explored in these stories of exile, belonging and memory.

Fiesta - Sarah Maldoror’s unofficial carnival trilogy

All Is Politics

Key Scholar Lecture: “The time it takes to march”: Pan-Africanism and beauty in Sarah Maldoror’s unapologetic cinema with Janaína Oliveira  

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