Congolese Women in Cinema, Visual Media and Screen Culture (Congo-Kinshasa - DRC)

Congolese Women in Cinema, Visual Media and Screen Culture (Congo-Kinshasa - DRC)

 

While information on the details of the first woman-directed films from ex-Zaire is not available, the works are credited to Angebi Ngeleba for the 45-minute, 16 mm film Bakola Miziki released in 1980, and Kilaba Ngansem Lhape for the film Oeuvre Maman Mobutu co-directed with Bokufa Bosomba in 1990.

 

The few films produced during the 1990s come out of the diaspora, by Belgium-based Monique Mbeka Phoba, who has been mentor and inspiration to many. Phoba continues to produce in the 2000s and is also involved in co-productions and African cinema organisational functions. She has been mentor to two Belgium-based practitioners, the sisters Pauline Mulombe, filmmaker and Cecile Mulombe Mbombe, cinematographer as well as a host of young filmmakers working directly in the Congo. Other Belgium-based Congolese women in cinema, include Wendy Bashi, filmmaker and journalist, and host of the programme Reflets Sud on TV5 Monde. Similarly, journalist Djia Mambu, as film activist, is actively involved in the promotion of African cinema throughout the globe, and advocates for positive and realistic representations of people of African origin. U.K.-based filmmaker, actor, writer Shana de Carsignac Mongwanga works at the intersection of social change and art, and has a keen interest in using film to reflect her reality as an African-European, but also to use art as a common cause for Congolese women based in the UK and in Congo DRC. Franco-Congolese Claude Haffner, points her camera to the country of her birth, as she returns to the Congo as an adult on a voyage of rediscovery. Raised in France by a French father and Congolese mother, her bi-racial, bi-cultural identity is explored in her documentary film, Footprints of my Other, whose French title, Noire ici, blanche la-bàs highlights the duality of her identity: being black here--in France, and white there in Congo. Similarly, Métis, the 2016 documentary by Maëlle Cherpion, Charlotte Manguette and Mélissa Quinet--who is the granddaughter of Elodie, explores mixed-race identity, though in a very different context. The film traces the experiences of Quinet's grandmother and her best friend Gerty, when Congo was under Belgian rule. Like many other children from interracial unions they were at the same time not recognised by their father and also taken from their mothers by government authorities to be placed in orphanages run by nuns.

Machérie Ekwa Bahango, of the current generation of Congolese filmmakers, has navigated between Congo and U.K. Her first film, Maki'la, which is also a feature, received international attention for its selection at the Berlinale Forum in 2018. Kinshasa-born Mariam Donda gained experience in directing and scriptwriting during a workshop conducted at the International Film Festival of Kinshasa in 2015, and in 2018 directed the short documentary film Maïmouna, advocating for the education of the girl child.

 

Julie Djikey, a multifaceted visual artist, uses the screen culture platforms of social media and new technologies to disseminate her performance art. Born in Congo-Kinshasa, her artistic approach endeavors a systemic reparation of the stereotypes of contemporary Congolese art.

 

In 2014, The Association of Women Filmmakers of DR Congo organized the first edition of Cinef (cinema au féminin). Launched under the theme "Empowerment of Congolese women through its initiatives for development”, the theme was developed during a seminar in which stakeholders in the cultural arena were invited to take stock of the current state of culture in DR Congo.

 

In April 2021 a panel discussion among women of RDC and the diaspora was held under the title Regard des femmes cinéastes-RDC 'influence ta communauté: "Perspectives of women directors of the RDC: Influence your community". Organized by Yole!Africa,  a non-profit organization promoting peace through art and culture, the Zoom round table included an impressive list of panelists and participants:

Panelists:
Carine Ilunga, actress-philanthropist
Djia Mambu, journalist and film critic
Clarisse Muvuba, producer-director-screenwriter
Monique Mbeka Phoba, screenwriter-director-producer-film theorist
Bernadette Vivuya, director-moderator

Participants:
Nancy Bwinika, actress
Annie Mahamba, actress
Chery Muhima, actress
Madeleine Ndeze, actress
Alice Mely Ndoole, actress
Nicole Nikuze, actress-director-producer
Baudouine Rudahigwa, actress-director
Diane Uwamahoro, actress
Charby Wale, actress-producer
 
The African Women in Cinema Blog endeavors to present the myriad screen experiences of women of DRC. While not claiming by any means to be exhaustive, the Blog presents a small selection of voices that are indicative of the diverse and wide-ranging screen cultures of DRC.

 

Report by Beti Ellerson

Links to articles on the African Women in Cinema Blog:

Festival Films Femmes Afrique 2020 - Mariam Donda : Maïmouna
https://africanwomenincinema.blogspot.com/2020/02/festival-films-femmes-afrique-2020.html

 

Amelia Umuhire : Congo-Rwanda webseries Tuko - Life in Goma (FR-EN-DE)
https://africanwomenincinema.blogspot.com/2018/07/amelia-umuhire-congo-rwanda-webseries.html

 

CINEF #4 2018 - Cinéma au féminin (Kinshasa) : Abeti Masiniki by/de Laura Kutika and Ne Kunda Nlaba
https://africanwomenincinema.blogspot.com/2018/07/cinef-4-2018-cinema-au-feminin-kinshasa.html

Mis Me Binga 2018 – Delphine Wil : Mémoire de missionnaires | Missionary Memories (Belgique | Belgium)
https://africanwomenincinema.blogspot.com/2018/06/mis-me-binga-2018-delphine-wil-memoire.html

“Maki'la” by/de Machérie Ekwa Bahango, a/un film noir by/par Hassouna Mansouri (analysis/analyse)
https://africanwomenincinema.blogspot.com/2018/04/makila-byde-macherie-ekwa-bahango-aun.html

Berlinale (Forum) 2018: Maki'la by/de Machérie Ekwa Bahango
https://africanwomenincinema.blogspot.com/2018/02/berlinale-forum-2018-makila-byde.html

Djia Mambu : “Black”, pourquoi Mavela et pas Loubna ? | Contradictions in the representation of Mavela and Loubna in the film “Black”
https://africanwomenincinema.blogspot.com/2016/08/djia-mambu-black-pourquoi-mavela-et-pas.html

Métis (Mixed-race), 2016 : by/de Maëlle Cherpion, Charlotte Manguette et Mélissa Quinet
https://africanwomenincinema.blogspot.com/2016/03/metis-mixed-race-2016-byde-maelle.html

Djia Mambu : journalist and film critic, a committed writer at the service of Africulture | journaliste et critique de cinéma, une plume engagée au service d’Africulture
https://africanwomenincinema.blogspot.com/2015/10/djia-mambu-journalist-and-film-critic.html

That Sister There! by Michèle Solle, a review of the film "Sister Oyo" by Monique Mbeka Phoba | Cette soeur-là ! par Michèle Solle, une critique du film “Soeur Oyo” de Monique Mbeka Phoba
https://africanwomenincinema.blogspot.com/2015/04/that-sister-there-by-michele-solle.html

Festival Cinema au féminin (CINEF) 2014 - Kinshasa - Programme
https://africanwomenincinema.blogspot.com/2014/06/festival-cinema-au-feminin-cinef-2014.html

Cinema au féminin (CINEF) : 10-14 June | juin 2014 - Kinshasa
https://africanwomenincinema.blogspot.com/2014/06/cinema-au-feminin-cinef-10-14-june-juin.html

Monique Mbeka Phoba: "Sister Oyo", the importance of social media, and the Kisskissbankbank crowdfunding campaign
https://africanwomenincinema.blogspot.com/2014/05/monique-mbeka-phoba-sister-oyo.html

Julie Djikey: Performance "Ozonisation"
https://africanwomenincinema.blogspot.com/2014/04/julie-djikey-performance-ozonisation.html

FILM: République Démocratique du Congo : violations graves des droits humains | Democratic Republic of Congo: Serious human rights violations
https://africanwomenincinema.blogspot.com/2013/10/film-republique-democratique-du-congo.html

Claude Haffner: "Black Here, White There" | "Footprints of My Other "
https://africanwomenincinema.blogspot.com/2012/03/claude-haffner-black-here-white-there.html

Shana Mongwanga: For a Common Cause
https://africanwomenincinema.blogspot.com/2011/08/shana-mongwanga-for-common-cause.html

The Sisters Act of Cecile and Pauline
https://africanwomenincinema.blogspot.com/2010/07/sisters-act-of-cecile-and-pauline.html

A Conversation with Monique Mbeka Phoba by Beti Ellerson
https://africanwomenincinema.blogspot.com/2009/12/conversation-with-monique-mbeka-phoba.html

Festival CINEF 2020 : Cinéma au féminin | Women-focused film festival (Kinshasa) APPEL A FILMS | CALL FOR ENTRIES

Festival CINEF 2020 : Cinéma au féminin

(Women-focused film festival)

Kinshasa

APPEL A FILMS | CALL FOR ENTRIES

Festival CINEF 5è édition - 60è anniversaire de l'indépendance de la R.D. Congo, du 22 au 27 juin 2020 | 5th edition, 60th anniversary of the independence of RD Congo, 22-27 June 2020

[APPEL A FILMS]

La 5é édition du Festival CINEF est à votre porte.
Envoyez dès maintenant votre film long/court-métrage, documentaire, fiction avant la date limite des inscriptions prévue le 25 avril à minuit.
Films à envoyer à l'adresse : cinef2020@gmail.com

[CALL FOR ENTRIES]

The 5th CINEF is at your doorstep. Send your feature short, documentary, fiction film now before the registration deadline, April 25 at midnight.

Send films to: cinef2020@gmail.com

À lire aussi | See also

Clarisse Muvuba : The Cinef, women who dare | Le Cinef des femmes qui osent - Interview/entretien by/par Wendy Bashi

https://africanwomenincinema.blogspot.com/2018/07/clarisse-muvuba-cinef-women-who-dare-le.html

CINEF #4 2018 - Cinéma au féminin (Kinshasa) : Abeti Masiniki by/de Laura Kutika and Ne Kunda Nlaba

CINEF 2018

Documentary | Documentaire

Abeti Masiniki (2014)

by/de Laura Kutika and Ne Kunda Nlaba

DESCRIPTION

[English]

The 60-minute documentary by Laura Kutika and Ne Kunda Nlaba aims to introduce the viewer to the life and work of the famous Congolese singer Abeti Masikini, from her youth to her death. 

Laura Kutika and Ne Kunda Nlaba had this to say about their film:

This woman wanted at all costs to realise her dream to be a singer but she also experienced disappointments, rejection and failures. First because she was a woman, then because of her accent and the particularity of her voice, but especially because of her music that had nothing to do with that of the others. But Abeti Masikini will make her particularity a strength, an advantage in this musical world. In the end, her determination, her audacity and her love for her work will make her an international icon.

The documentary also references the rights of women because Abeti Masikini, who combined her family and professional life, used her talent fully with the belief that what is essential is to be comfortable in one’s skin. Hence, the aim of the film “is also to raise women's consciousness and help them emancipate themselves.”

[Français]

D’une durée de 60 minutes, le documentaire de Laura Kutika et Ne Kunda Nlaba se propose de faire découvrir au spectateur la vie et l’œuvre de la célèbre chanteuse congolaise Abeti Masikini, de sa jeunesse à sa disparition. « Cette femme qui voulait à tout prix réaliser son rêve de chanteuse mais qui connaîtra déceptions, rejets et échecs. D'abord parce que c’était une femme, ensuite à cause de son accent et de cette voix si particulière qu’elle avait, mais surtout de sa musique qui n'avait rien à voir avec celle des autres. Mais Abeti Masikini fera alors de sa particularité une force, un plus dans ce monde musical. Au final, sa détermination, son audace et son amour du travail feront d'elle une icône internationale », indiquent les auteurs du film sur leur site Internet.

Par ailleurs, font savoir les auteurs, ce documentaire  évoque également les droits de la femme, car Abeti Masikini, qui combinait vie familiale et vie professionnelle, avait su pleinement exploiter son talent en partant du principe que l’essentiel est d’être bien dans sa peau. « C’est aussi une sorte de lutte pour conscientiser les femmes et les aider à s’émanciper», expliquent-ils.

BIOGRAPHY | BIOGRAPHIE

[English]

Laura Kutika is a screenwriter, filmmaker, author and theatre director.

[Français]

Laura Kutika est à la fois scénariste, réalisatrice, auteure et metteur en scène. 

[English]

Ne Kunda Nlaba is a producer, filmmaker, scriptwriter, editor, actor and political scientist.

[Français]

Ne Kunda Nlaba est un producteur, réalisateur, scénariste, monteur, acteur et politologue.

Source: Adiac-Congo http://www.adiac-congo.com/content/7e-art-un-documentaire-sur-la-vie-dabeti-masikini-en-preparation

CINEF #4 : Cinéma au féminin | Women-focused film festival – 2018 - Kinshasa

CINEF #4 : Cinéma au féminin | Women-focused film festival – 2018 - Kinshasa

L'association des femmes cinéastes de la RD Congo organise #4 Cinef le cinéma au féminin. 10-15 juillet 2018

The Association of Women Filmmakers of DR Congo organises the #4 Cinef (cinema au féminin). 10-15 July 2018

[English]

CINEF, a woman-focused festival created by the Association of Congolese Women Cineastes (AFCC) is now in its fourth edition. 

AFCC frequently organises training workshops in the diverse areas of cinema, especially for women. Moreover, women are encouraged to explore all areas of filmmaking beyond directing, production or acting.

[Français]

Le festival du cinéma au féminin est ici à sa quartrième édition. C'est un festival qui a été conçu par l'association des femmes cinéastes congolaises (AFCC).

L'AFCC organise également et presque souvent, des ateliers de formation aux métiers du cinéma destinés aux femmes surtout, et encourage les femmes à intéresser à tous les métiers du cinéma en dehors de la réalisation et de la production ou de l'acting.

OFFICIAL SELECTION | SELECTION OFFICIELLE

Long Métrage

La sirène de Faso Fani (The siren of Faso Fani), Michel K. Zongo (Burkina Faso)

Abeti Masikini, Laura Guliamo Luyeye Kutika, & Ne Kunda Niaba (RDC/ France)

Zero, Moimi Wezam (RDC)

Frontières | Borders, Apolline Traoré (Burkina Faso)

Maman Colonelle, Dieudo Hamadi (RDC)

Ouaga Girls, Theresa Traoré Dahlberg (Burkina Faso)

Court Métrage

Gerreta, Mantegaftot Sileshi, (Ethiopia /Germany)

Indélébile (Indelible) Paradis Mananga, fiction (RDC)

Tu seras mon allié (You will be my ally) Rosine Mbakam, (Belgique/Belgium)

Les empreintes douloureuses (Painful imprints), Auguste Bernard (France)

Le Mil de la mort (The millet of death) Jaloud Zainou Tangui (Niger)

Ipséité identique,  Promesse Kitakya et Elisabeth Utamuriza (RDC)

Théâtre urbain (Urban theatre) Nelson Makengo (RDC)

Matolo, Fifi Solange (RDC)

Chronique congolaise (Congolese chronicle), Wendy Bashi (RDC)

Mines de rien, Douglas Masamuna (RDC)

Petits métiers de Kinshasa, Sébastien Maître (France/RDC)

Petite Lumière (Little light), Alain Gomis (France/Senegal)

A Place for Myself | Une place pour moi, fiction, Marie Clémentine Dusabejambo (Rwanda)

Blanc-Noir et Heureux (White-Black and Happy), Cornélia Glele, doc., (Bénin)

Mwimba Texas – Catch et Albinisme, Solzic Sanson (France/RDC)

Meduse (Medusa), Johanna Makabi – Adèle Albrespy (France)

“Maki'la” by/de Machérie Ekwa Bahango, a/un film noir by/par Hassouna Mansouri (analysis/analyse)

“Maki'la” by/de Machérie Ekwa Bahango, a/un film noir by/par Hassouna Mansouri 

A collaboration with Africine.org, translated from French by Beti Ellerson. 

En français : http://africine.org/?menu=art&no=14427

Maki'la by Machérie Ekwa Bahango is a genre film with aspects drawn from the streets of Kinshasa, the capital of the Democratic Republic of Congo. These streets and the children who live in them, cut off from all family and social ties, are often the subject of a great deal of imagined reality; treated as sensationalised subjects, full of miserabilism and pity. The young Congolese filmmaker, who has just completed her very first feature film, constructs this subject matter into cinematographic material.

In the gangster movie genre where the hero is most often a man, Machérie Ekwa Bahango breaks with this rule from the very beginning. The hero is Maki, a young woman who fights as best she can to survive in the streets of Kinshasa. Married to Mbingazor, the leader of a gang of youth, she decides to set off on her own, finding neither satisfaction in the lifestyle of this group or in her relationship. Sent on her path by fate is Acha, another teenage girl lost in a soulless, unsparing Kinshasa. Their encounter is an important factor in the transformation of Maki's character, strengthened by a sense of responsibility. The group evolves outside of any interaction with society; guided by its own laws, like gangsters and mafia members in noir films. For instance, the wedding, used only as a model, is celebrated between friends by imitating/caricaturing the references of religious ritual. Similarly, each gang member is baptised according to a social stereotype.

At a certain moment, something clicks in Maki's mind, prompting her to no longer tolerate her companions' mode of existence: constant idleness, spending all their time smoking and drinking. There are subtle hints on the part of the director regarding the impasse and immobility that suffocate Congolese society. Maki’s awakening/revolt emerges as a call for crucial change. Confronted with a system stronger than her, what can the young woman do? The revolving scenes of conflict, at times in direct combat with Mbingazor, who dictates the law, are like metaphors for social confrontations between a people eager for change and an illegitimate oppressive power.

When finally a glimmer of hope emerges, the monstrous actions of Mbingazor are fatal both for himself and for Maki. At the end of a physical fight between the two characters, Acha kills Mbingazor with a bullet from a pistol that Maki had seized from a client, at the same moment she is stabbed. Before shooting herself in the head, she reveals to Acha that the man she had just killed is none other than the brother she has been looking for. Acha is lost now more than ever before. She loses Maki, the only support system in her life, and she herself has put an end to the personal and ultimate hope of finding her brother, her dream of finally reaching a haven of peace. The separation from him is twofold; having realised that she had just been raped by her own brother. Herein is a dour overview of Congolese society. With what means is Acha going to face the challenges during the rest of her life? The memory of this bloody scene ending with fratricide, the money that Maki brought back, and that could/should have taken them out of the circle of poverty and violence, perhaps a child from incest and rape. Acha, like Congolese society, was not able to get out of the vicious cycle. Through a muffled cry of anger in the form of a film noir Machérie Ekwa Bahango seems to reveal that the spiral of despair continues.

Maki'la de Machérie Ekwa Bahango, un film noir par Hassouna Mansouri

Maki'la de Machérie Ekwa Bahango est un film de genre avec des composantes locales puisées dans les rues de Kinshasa, la capitale de la République Démocratique du Congo. Ces rues et les enfants qui y vivent coupés de toutes attaches familiales et sociales sont l'objet de beaucoup de fantaisie. Ils sont souvent traités comme sujets sensationnels et souvent même teintés de misérabilisme et de pathétique. La toute jeune cinéaste congolaise, elle en est à son tout premier long métrage, en fait un matériau cinématographique.

Lire l'intégralité de l'article @ http://africine.org/?menu=art&no=14427

Berlinale (Forum) 2018: Maki'la by/de Machérie Ekwa Bahango

Berlinale (Forum) 2018:

Maki'la by/de Machérie Ekwa Bahango

Maki’la - DRC Congo / France 2018, 78 min

Berlinale.de

Synopsis:

[English]

Maki observes the sapeurs with a mixture of amusement and scorn. They’re all the family she has, this group of young men who use the streets of Kinshasa as their stage, showing off their wild mix of street chic and stolen designer fashions. Maki has been on the streets a long time and is married to Mbingazor, the gang’s boss. But at some point, the 19-year-old has had enough of this gang of boys, who are too busy getting high and drunk to do anything with themselves. Survival must be secured. The next time money for food runs out, Maki crosses paths with the much younger Acha. This newcomer is a fresh arrival in Kinshasa, and doesn’t yet know the rules. Spurred on by Acha’s beginner’s luck as a thief, the pair set off on an adventure together, which soon arouses Mbingazor’s jealousy.

This debut packs in a whole lot: The drama of the story, the raw opulence of the setting and street cred of the actors are all striking cinematic statements. Machérie Ekwa Bahango is part of a group of young filmmakers in Kinshasa working to revitalise Congolese cinema and create works that equally appeal to their own home audiences.

[Français]

Makila est une jeune fille de 19 ans qui vit dans la rue depuis l'âge de 13 ans. A son arrivée, elle a été accueillie par le caïd Mbingazor, un délinquant albinos, qui l'a initiée à la façon de vivre, ou plutôt de survivre, dans la rue : drogue, prostitution, vol… Les deux finissent par se marier. Devenue femme de caïd, Makila engage à son service des enfants qui volent pour elle, en échange d'une protection et de quelques miettes. Elle arrête ainsi de se prostituer. Makila et Mbingazor forment le couple le plus respecté de la rue, mais très vite, leur relation basée sur l'exploitation et la violence, commence à ennuyer la jeune fille qui se sent prisonnière. Elle décide de quitter Mbingazor…

Biography | Biographie

[English]

Born in Kisagani, Democratic Republic of Congo in 1993. She took screenwriting and film directing workshops while studying Law. In 2016, she wrote six episodes of the series Nakisa: Lobi mokola ya sika, which was financed by the American NGO Search for Common Ground. Maki’la is her debut film.

[Français]

Titulaire d'une licence en droit et passionnée de cinéma, elle a traduit en lingala des dialogues du film d'Alain Gomis, "Félicité", avant d'écrire et de réaliser "Maki'la", long-métrage mettant en scène des enfants de la rue qui lui a valu d'être repérée par DIFFA, puis Orange Studio. Produit par Emmanuel Lupia, ce film a bénéficié de l'aide à la finition du Fonds Image de la Francophonie en mai 2017.

Film extracts | Extraits du film:

http://cineuropa.org/vd.aspx?t=video&l=fr&rdID=346910

Also read Interview with Machérie Ekwa Bahango by Dorthee Wenner: http://www.arsenal-berlin.de/en/berlinale-forum/program-forum/main-program/makila.html

Images and English text: Berlinale 

Source en français: Spla et Africine.org

Fiction-Mirror-Reality and vice versa: The case of Nollywood, an Interview with Shari Hammond by GAYLOR LUKANGA FEZA | Fiction-Miroir-Réalité et vice versa : Le cas Nollywood, entretien avec Sharin Hammond par GAYLOR LUKANGA FEZA

Version originale en français 

Fiction-Mirror-Reality and vice versa: The case of Nollywood, an Interview with Shari Hammond by GAYLOR LUKANGA FEZA, 6 August 2014 for TERENGAWEB.COM. Photo: Terengaweb.com. Translation from French by Beti Ellerson.

Shari, our Ghanaian-Ugandan sister who for professional reasons lives between her two countries, once settled in, took the time to dedicate a few moments. I borrow a few words from this polyglotte from the languages ​​she speaks perfectly to wish you mukulike (Luganda) tusemerirwe kukulora (lutooro) akwaaba (twi and ga), wilkommen (German), bienvenue (French), welcome to an experience - that of an African woman, educated, professional, world traveller, intelligent, as I was told by an honorary ambassador speaking of her: welcome to a reality that is not fiction. 

For the record, this is the continuation of my article released Sunday, 6 July. An article in which I talked with you via an interview with Serge Noukoue, during the second edition of the Nollywood Week Festival that took place from 5-8 June at the Parisian cinema l'Arlequin.

This event was an opportunity to “tie myself in knots”, in the words of another friend, wanting to analyse the interpenetration between fiction and reality. While waiting to share with you my deep thoughts, please find in the following paragraphs my e-interview with Shari Hammond, in charge of partnerships for the association Okada Media, which organizes the Nollywood Week Festival. 

Gaylord Lukanga Feza: Shari, what is your background? Your story? Your relationship with the creative industries?

Shari Hammond: I studied international law with a focus on Africa. I have always liked to gain knowledge through reading, going to exhibitions and discovering different artists. I was very curious about the different African art scenes so I became involved with the online journal of contemporary African art, Afrikadaa. Later in 2011, I met Serge and the other co-founders of Nollywood Week. 

Recently, I've been able to work with “Writivism”, a literary arts festival in Uganda. 

For me, to promote, stimulate and develop African creative industries, whether visual arts, publishing or cinema, is a necessity, because it contributes to the cultural pantheon and to the country’s economic growth. 

GLF: Has your training been useful in your present activities? 

SH: My legal training has given me discipline and organization in my activities, for instance, it is easier for me to read and write partnership and other contracts. Or, still, to study the various options and to ensure legal action. 

GLF: What advice can you give to those who would like to work in the creative industries, and to avoid certain pitfalls? 

SH: I would say that one must dare to roll up her sleeves and get to the task as soon as she has a vision of what she wants to accomplish. Having an idea is good, but a vision is better. The vision is the road map that will allow any cultural entrepreneur to avoid faltering in times of trouble, which exist in any business. This kind of industry unfortunately suffers from a lack of funding and it is even more difficult in Africa. One must connect with the right people: those who believe in your project and are ready to invest in it morally and financially. 

GLF: How do you choose your partners? I am thinking of Total who supported this event, and l'Arlequin who again opened its door. 

SH: We like to work with people who offer quality products and services to an African audience or who do outreach to Africa. People who are aware of the potential and evolution, as well as the developments taking place on the continent. The people, the supporters who promote this Africa.

We are not restrictive in our collaborations. We want to encourage long-term relationships with establishments that have proven themselves and that do not compromise on quality and that respect their clients. 

Our meeting with Total was organised by our partners, the France-Nigeria Association in 2013. Since then, we have been engaged in many discussions in order to better understand our mutual values ​​and visions. The Total Foundation has decided to support us again this year because of our contribution to intercultural dialogue and because we create innovative access to new audiences. 

The Cinéma l’Arlequin, an emblematic space in the heart of Paris, gave us an opportunity with the first edition and we gain their confidence after this first success. Their support throughout the preparation to the culmination of the Festival was very important to us and we continue to thank them for it. 

GLF: How will the proceeds of the festival be used? 

SH: One thing to note is that festivals of this magnitude have not yet turned over a profit. The little money raised will be used for the preparation of the next edition and the related activities of Okada Media, the association that organises the Festival.

GLF: During my attendance at the Saturday event of the Festival, I could feel the enthusiasm of the public. Many were those who came only to find “session sold out”, even for the following day. For those who were unable to attend the festival or to gain access to the different sessions, will they be able to view these films? 

SH: In fact, like most festivals, it is best to clearly identify the screenings that one wants to attend and get the tickets as soon as possible. Many sessions were sold out and we are delighted. This festival was able to offer premieres for films that are inaccessible in France, and the audience who was present gave testimony of their interest and desire to see more films from the Nigerian industry.

Our greatest wish, as well as those of the directors and producers who were present at the festival, is to have these films available on as many platforms as possible. Partners such as Canal+ and TV Nollywood envision the acquisition of rights to broadcast some of these films. We shall wait and see. 

GLF: If you were to change anything for this edition 2014, what would it be? 

SH: Tough question! The challenges are only there to make us grow and to learn from it. I would emphasise perhaps more communication, especially to encourage filmgoers to get their tickets even before the Festival or the “Early Bird” specials, as we have already done. 

GLF: Can one already make a rendezvous for next year?

Yes, you may now sign on for next year with, hopefully, more films that will move you, and more meetings with the makers of Nollywood. 

GLF: Through its technique and means of distribution, cinema provides us with images and sounds that depict a living picture, imitating or characterising reality. What do you think is the role of those who create these images? 

SH: Cinema is aptly nicknamed the 7th art. Cinema is an art, it is there to sublimate, reveal, or portray or adapt a reality. The artist, in this case the director or producer, has the duty to follow her/his own ambition and vision, even if that art is a major vector of influences that we cannot ignore. And it is for this reason that there will always be more or less direct messages in the films. In my opinion, the role of the makers is not to achieve a specific task, but to do what they do with zest and enthusiasm, ultimately leaving their mark by continuing to inspire. 

GLF: Shari Hammond, thank you. 

SH: Thank you 

Interview by GAYLORD LUKANGA FEZA of the Congo, diploma in Accounting and Management for Terengaweb.com. 6 August 2014. Translation from French by Beti Ellerson.

Cinema au féminin (CINEF) : 10-14 June | juin 2014 - Kinshasa

L’Association des femmes congolaises du cinéma et de l’audiovisuel (AFCC) presente, du 10 au 14 juin 2014 à Kinshasa, le festival « Cinéma au féminin » (CINEF). 

The Association of Congolese Women Filmmakers presents the festival Cinema au féminin (CINEF) from 10-14 June 2014 in Kinshasa.

[Français ci-après]

The first edition of Cinema au féminin (CINEF) will be launched under the theme "Empowerment of Congolese women through its initiatives for development”. The theme will be developed during a seminar in which stakeholders in the cultural arena are invited to take stock of the current state of culture in DR Congo. The five-day festival will include screenings of films by Congolese women and a production and scriptwriting workshop—facilitated by Monique Mbeka Phoba. The L’Association des femmes cinéastes congolaises (AFCC) | The Association of Congolese Women Filmmakers are working to ensure the success of this first edition of the festival which will take place from 10-14 June 2014.

The idea for this event came about from the realization that there are still too few Congolese women in the world of cinema, while each in her own corner attempts to carve a space in the profession. And yet filmmaking is above all a team effort.

Members of the AFCC decided to join together in order to promote their work. Hence the festival aims to increase the number of women in this sector and facilitate the production and distribution of their work.

Moreover, by organizing this festival, the filmmakers also want to have their talents recognized nationally and internationally. 

The expected results of this festival include: raising the consciousness of Congolese women of the importance of the moving image professions; encourage the Congolese government, private, national and international organizations, to invest in cinema and audiovisual sectors. 

The network of women in cinema and the audiovisual has been created and a permanent framework is established in order to promote dialogue and exchange between them. 

Hence this appeal to women—in the name of equality—to embrace the cinema and audiovisual professions.

L’Association des femmes congolaises du cinéma et de l’audiovisuel (AFCC) organise, du 10 au 14 juin 2014 à Kinshasa, le festival « Cinéma au féminin » (CINEF). Cette première édition est placée sous le thème «L’autonomisation de la femme congolaise par ses activités pour le développement ». Ce thème sera développé durant le séminaire où toutes les personnalités du domaine culturel seront conviées pour faire un état des lieux de la culture en RD Congo. Les rencontres de 5 jours se dérouleront autour des projections des films réalisés par des Congolaises, un échange sur la production et un atelier d’écriture (animé par la cinéaste congolaise Monique Mbeka Phoba) seront au rendez-vous. L’Association des femmes cinéastes congolaises (AFCC) sont à pied d’œuvre pour la réussite de la première édition de leur festival « Cinema au Féminin » (Cinef) dont les activités vont se dérouler à Kinshasa du 10 au 14 juin prochain.

L’idée de l’organisation de cet événement culturel est partie du constat selon lequel les femmes congolaises sont encore trop peu nombreuses dans le monde du cinéma.

Ainsi, chacune dans son coin a essayé de créer une petite structure pour démarrer dans la profession. Pourtant, le cinéma est avant tout une affaire d’équipe.

Pour promouvoir leur travail, les membres de l’AFCC ont décidé d’unir leurs forces et renverser cet état de choses. De par son objectif, ce festival veut accroître le nombre des femmes dans ce secteur et faciliter la production et la diffusion de leurs œuvres.

Par ailleurs, en organisant ce festival, ces femmes cinéastes veulent également faire reconnaître leurs talents sur les plans national et international.

Les résultats attendus de ce festival sont, entre autres : faire connaître l’importance des métiers de l’image aux femmes congolaises ; motiver le gouvernement congolais, les privés, les organismes nationaux et internationaux à investir dans le cinéma et dans l’audiovisuel.

Le réseau des femmes cinéastes et de l’audiovisuel est créé et un cadre permanent est mis en place pour favoriser la circulation et l’échange entre elles.

D’où cet appel lancé à la femme, au nom de l’égalité, à embrasser ces métiers du cinéma et de l’audiovisuel. 

Source : 

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Julie Djikey: Performance "Ozonisation"

Julie Djikey:"Ozonisation"©Pascal Maitre/Cosmos/National Geographic

Julie Djikey: Performance "Ozonisation"

Photo source: National Geographic © Pascal Maitre/Cosmos/National Geographic

[Français]

Julie Djikey @ blogspot : http://juliedjikey.blogspot.com

Performance" Ozonisation" de Julie Djikey à Bandal : https://www.youtube.com/watch?v=UINjDcTRb7w 

[English]

Julie Djikey, a multifaceted visual artist, uses the screen culture platforms of social media and new technologies to disseminate her performance art. Born in Congo-Kinshasa, her artistic approach endeavors a systemic reparation of the stereotypes of contemporary Congolese art.

A graduate of the Academy of Fine Arts in Kinshasa and a member of the collective Kisalu Nkia Mbote, Julie Djikey is inspired by the peregrinations of her immediate environment, which she highlights in her art.

Her life as an artist has made her a careful observer of facts and all the little things that make and unmake the life in her city, the little nothings that construct everyday existence; scenes that are presented in her life motivate her to capture them.

Because her work may be seen anytime and anywhere, it intersects trajectories, surpassing boundaries: geographic, aesthetic and artistic. Most of her artwork revolves around issues related to women, movement, urbanization, issues of modernity and all that relates to the environment. Anything that captivates her gaze, her imaginary, evolves into artistic action. Her present focus is the urban space and breadth of Kinshasa and how it becomes a public image of a city.

In her performance art, Julie Djikey presents her body as an object of representation of contemporary art, which becomes both subject and object of art. While performing within a poetic yet subversive spirit, the challenge of her artistic interventions is to mobilise popular awareness of the major themes of city life. 

The automobile is one of the main subjects of the artistic act. Her work is part of an artistic movement of urban scenography of the big megalopolis in Africa and the world. 

In the performance art work, "Ozonisation" (2013), Julie Djikey, as part of the Kisalu Nkia Mbote collective, performs in the streets of Kinshasa. The theme of the piece is in protest against pollution, global warming and the use of cosmetic products. She transforms her body into a “human car”, applying a mixture of engine oil and ashes from burnt tires, and a bra made from oil filter cans.

(Adapted from Julie Djikey’s artist statement in French by Beti Ellerson)

The filmed performance is without dialogue. Below is a translation from French of the written text at the start of the film:

This performance protests against the deterioration of the ozone layer due to the greenhouse gas emissions, the main chemo-physical element responsible for the overheating of the blue planet, which should always be green, without air pollution, and free of ultraviolet (UV) radiation.

The artist conveys the message of her art by combining the visual: aesthetic, theatric and performative in a very subversive spirit. Performance is also a weapon from the armoury of the scholar artist. Sharpened by a great physical vitality, the work is very powerful, concise, with a sense of unquestionable contempt. The strong artistic interventions of the artist are in line with her belief that the body can be both subject and object of art. Body artist, performer, practitioner of happenings and other site specific events, the artist composes her art with elements of everyday urban life in Kinshasa. Known for her minimalism, through her art she reveals current views, her true language of communication.

A Conversation with Monique Mbeka Phoba by Beti Ellerson

(Archival Images)

Version francaise ci-après

Belgo-Congolese Monique Mbeka Phoba, filmmaker, poet, novelist, journalist, film critic and project manager

A lot of things have evolved in terms of technology since our conversation in 1997…

There has been much evolution in terms of technology and this has had quite an influence on how we work. For example, during my last film project that I co-produced with a team of young theatre students in Kinshasa, I must say that we greatly benefited from the virtual environment that is so much part of our world today. I met these youth who wanted to make films, and yet a film school does not exist in DRC. I offered to be part of the production of a film whose subject was proposed by one of them. Thus at the same time that they learned how to make a film they dealt with all the aspects of the production. Guy Kabeya Muya, who did the training, co-produced the film with me. We worked with small digital cameras, and communicated via Internet and SMS, so that I could follow the day-by-day production and give my input as needed.

This kind of virtual interactivity led to a film about the first Black African soccer team in the 1974 World Cup. Guy Kabeya and I put a preview trailer on the Internet and received responses from all sorts of people interested in such a film, especially at the eve of the World Cup to be hosted in South Africa. This demonstrates the important role that the Internet may play in the production and promotion of films, which was not the case some years ago. It was the result of showing the trailer through video sharing that people were aware of the existence of the film—a very effective promotional tool.

Could you talk about African women and the moving image? In your conversations with other African women in cinema, do you perceive an African woman’s “imaginaire”, an experience through African women’s eyes?

Women are increasingly visible in cinema and I think we are intent on supporting each other and keeping each other abreast of any difficulties. For example, I initiated the first meeting between Angèle Brenner Diabang and Osvalde Lewat-Hallade, facilitating their invitation by INPUT in Taiwan, which for them was a powerful experience. And these are the two names most prominent among the new generation of women in African cinema. Osvalde contributed to the soccer film project when I had big financial problems, as this project had not been funded. In terms of the representation of women on screen, three emblematic films were made in the last ten years: Al'leessi an African Actress (2005) by Rahmatou Keita of Niger, my film, Anna l’Enchantée (2000) and Yandé Codou Sène, la griotte de Senghor (2009) by Angele Brenner of Senegal.

To these three movies, I may add one by a man, because I believe that the film Mère-Bi – Mother by William Mbaye, shows a feminine sensibility of a man who from his early childhood lived side by side with the exceptional personality of his mother, Annette Mbaye d'Erneville, the first radio journalist of West Africa—a film that he carried with him for years. There are films by women about women, such as L’Art d'une prêtresse about Werewere Liking by Sandra Boukhani, but also women in political contexts, such as Jihan El Tarhi: L'Afrique en morceaux, about the conflicts in the Great Lakes region , Cuba, une odyssée africaine, about Che in Congo, Behind the Rainbow (Le Pouvoir détruit-il le rêve ?), about the historic rivalry between Thabo Mbeki and Jacob Zuma at the center of the ANC; Osvalde Lewat: Un amour pendant la guerre and Une affaire de nègres; Anne-Laure Folly Reimann: Les Oubliees, Femmes aux yeux ouverts and Femmes de Niger; Nadia el Fani: Ouled Lenine, which means “the children of Lenin”, a film that evokes the political engagement of her father who was a communist. Or my own films with political subject matter: Revue en vrac, about the new freedom of expression in Congo after the end of the one-party system in ex-Zaire at the beginning of the 1990s. And my film, Deux petits tours et puis s'en vont…, which addresses the 1996 presidential election in Benin where the former dictator Kerekou, who had been expelled in 1991, democratically returns to power. These films show that women have invested considerably in the political sphere and they are well respected. But we must recognize this specifically female gaze on political issues. Perspectives that traverse the family, the intimacy of suffering, and show self-reflection. Do African women filmmakers talk to each other? In my opinion, not enough. This movement must recover from years of being in a vegetative state, and in this domain, women are no exception. However, I have noticed that between women, it is easier to critique our respective films.

Some reflections on African cinema in terms of language and communication...

There are two realities that force us to be more receptive to having to speak English; the rise of the powerful Nollywood of Nigeria and the audiovisual industry in South Africa. Many Congolese enter filmmaking via South Africa, where there is a large Congolese community. There are already two directors who have settled in South Africa Makela Pululu and Sandra Boukhany. And while they are Francophone, English is their everyday language. Claude Haffner, of Congolese origin, works as assistant in film productions. Another Congolese Petna Ndaliko lives in eastern Congo and is in constant relationship with Uganda. As cinema and audiovisual industries in Africa professionalize, the use of English is becoming increasingly necessary.

Your evolution into cinema from you debut to the present...

I have made nine documentaries, four in Benin, four in Congo and one in France. I have dealt especially with political and social subjects. I think the films for which I am known best are: Anna l’Echantée, about a young singer living in a polygamous family. Sorcière la vie !, on the mixture of beliefs in Congo-Kinshasa, and the latest film, Entre la coupe et l’élection, about the first black African team to be in the World Cup, in 1974. Most recently, I returned to school, where I completed a Master’s in Scriptwriting and am in the midst of writing two fiction projects—for short and feature film. Besides these projects, I published a book of poems called “Yémadja” and I am preparing a collection of short stories. I'm sure I'll write more and more over time—why not novels and essays as well? And, I would love to become a professor of cinema.

I thoroughly enjoyed your film Anna from Benin, could you talk about the conceptualization of the film and its production.

I met Anna in a jazz club in Cotonou and I was very impressed by her voice. Shortly after, I was contacted by a French producer who was looking for a director in Benin for a series called "Girls Around the World" whose objective was to focus on seventeen-year-old girls from the four corners of the world, and each film would be directed in the respective country. One of the criteria was that the directors have experience in international co-production. Since I lived in Benin, I was chosen. I was asked to think about a seventeen-year-old girl who could symbolize the psychological and emotional context of an African girl on the eve of the year 2000. I recalled the young singer Anna, quite pleased to have the means to make a film about her. But, I shifted my scenario. If I had not been part of the "Girls Around the World” series, I would have made a film specifically about her as a singer.

But the specificities of the project were to show the environment in which she lived. I was completely unaware that Anna lived in a polygamous family. This film gave me the opportunity to enter rather intimately into this family, both traditional and modern, and a very good representative of all the contradictions of contemporary Africa. I knew immediately that the father had to be an ally. This gentleman felt respected by me. I am also from a polygamous family, though all the wives did not live together. We are thirteen children from four wives and all of my life I have had to manage these aspects of our family. I have tried to love my brothers and support them no matter who is their mother. I think my father has made sure that it has gone well between us. It must have helped that I felt really comfortable in this family and they felt comfortable with me.

French to English translation by Beti Ellerson

Source: Conversation with Monique Mbeka Phoba, 1997 in Sisters of the Screen

(Images d'archive)

 

Congolaise-Belge, Monique Mbeka Phoba, cinéaste, poètesse, novelliste, journaliste, critique de films, gestionnaire de projets, originaire de République Démocratique du Congo.

Beaucoup de choses ont évolué au niveau technologique depuis notre entretien en 1997…

Beaucoup de choses ont évolué au niveau technologique et cela influence bien évidemment la pratique de nos métiers. Par exemple, pour mon dernier projet de film que j’ai co-produit avec une équipe de jeunes étudiants en théâtre de Kinshasa, je peux dire que nous nous sommes servi à fond de cet environnement virtualisé qui est le nôtre aujourd’hui. J’avais rencontré ce groupe de jeunes qui souhaitaient faire des films, alors qu’il n’existe pas d’école de cinéma en RDC. Je leur ai proposé d’être mêlé au tournage d’un film, dont le sujet avait été proposé par l’un d’entre eux et, ce faisant, d’apprendre à faire des films, en s’occupant de cette production. La personne qui les a encadrés, Guy Kabeya Muya, a été le co-réalisateur du film avec moi. Ils se sont servis de petites caméras numériques, nous communiquions par Internet et SMS, de sorte que je suivais au jour le jour le tournage et pouvais l’influencer dans un sens ou dans un autre.

Ce suivi virtuel a débouché sur un film co-réalisé par moi-même et Guy Kabeya, sur la première équipe de foot-ball d’Afrique Noire à avoir été à une Coupe du Monde de football en 1974. Nous avons placé une bande-annonce sur Internet et j’ai eu plusieurs manifestations d’intérêt, par toutes sortes de personnes intéressées par un tel film, à la veille de la Coupe du Monde en Afrique du Sud. C’est dire si s’appuyer sur Internet est important aujourd’hui au niveau de la réalisation, de la production et de la promotion. Cela n’était pas le cas, il y a quelques années. Et c’est par le « video-sharing » de cette bande-annonce que les gens sont avertis de l’existence du film, un autre outil de promotion très intéressant.

En tant qu'africaine dans le cinéma quelles sont tes expériences avec d'autres femmes dans le domaine? Une sensibilité féminine existe-t-il? Une spécificité de la femme en termes de critique de film?

Les femmes sont de plus en plus présentes dans le cinéma et je pense que nous avons à coeur de nous épauler l’une l’autre, de nous tenir au courant de nos difficultés. J’ai par exemple été à l’origine de la première rencontre entre Angèle Brenner Diabang et Osvalde Lewat-Hallade, en facilitant leur invitation par INPUT à Taïwan, ce qui a été pour elles une expérience marquante. Et ce sont les deux noms les plus en vue actuellement dans le cinéma féminin africain de la nouvelle génération. Osvalde a cotisé pour le projet de film sur le foot-ball, au moment où j’avais de grosses difficultés financières, ce projet n’ayant pas eu de subvention. Au niveau de la représentation des femmes à l’écran, 3 films emblématiques ont été réalisés les 10 dernières années : « Al’leessi, une actrice africaine », de Rahmatou Keita, « Anna l’enchantée », de Monique Mbeka Phoba et « Yandé Codou Sène, la griotte de Senghor », d’ Angèle Brenner Diabang.

À ces 3 films, j’ajoute le film d’un homme, car je considère que le film « Mère-Bi – La mère », de William Mbaye, témoigne une sensibilité féminine d’un homme, confronté depuis sa tendre enfance à une personnalité d’exception, sa mère, Annette Mbaye d’Erneville, première journaliste radiophonique d’Afrique de l’Ouest, un film qu’il a porté en lui des années durant. Il y a les films des femmes sur les femmes, comme celui de Sandra Boukhani, l'auteur d'un documentaire sur Were-Were Liking, appelé «L'Art d'une prêtresse», mais aussi des femmes sur des contextes politiques, comme ceux de Jihan El Tarhi « L'Afrique en morceaux » sur les conflits dans la région dans les Grands Lacs, « Cuba, une odyssée africaine » sur Che au Congo, « Behind the Rainbow » (Le Pouvoir détruit-il le rêve ?), sur la rivalité historique entre Thabo Mbeki et Jacob Zuma au sein de l'ANC ; d’Osvalde Lewat « Un amour pendant la guerre » et « Une affaire de nègres » ; Anne-Laure Folly-Reimann avec « Les Oubliées » et « Femmes aux yeux ouverts » ou « Femmes du Niger » ; de Nadia El Fani « Ouled Lenine », qui veut dire" les enfants de Lénine". Nadia El Fani évoque l'engagement politique de son père qui était communiste. Ou mes propres films sur des sujets politiques : « Revue en vrac » sur la nouvelle liberté d'expression au Congo, après la fin du parti unique, dans l'ex-Zaïre, début des années 90. Et mon film « Deux petits tours et puis s'en vont... » qui aborde une élection présidentielle an Bénin, en 1996, où on voit l'ancien dictateur Kerekou, qui avait été chassé en 1991, revenir démocratiquement au pouvoir.

C’est-à-dire que la sphère politique est maintenant largement investie par les femmes et qu’elles y sont parfaitement crédibles. Mais, qu’on reconnaît ce regard spécifique des femmes sur des sujets politiques. Des regards qui passent par la famille, l’intimité de la souffrance et du regard sur soi. Est-ce que les femmes cinéastes africaines se parlent ? Selon moi, pas assez. Le mouvement associatif en est encore à se relever d’années végétatives et, dans ce domaine, les femmes n’ont pas fait exception. Cependant, j’ai remarqué qu’entre femmes, il était plus facile de se faire des critiques sur nos films respectifs.

Quelques réflexions sur le cinéma africain en termes de langue et de communication…

Il y a deux réalités concrètes qui nous forcent à être plus réceptifs au fait d’avoir à parler anglais. Les puissantes montantes audiovisuelles que constituent le Nigeria avec Nollywood et l’Afrique du Sud. Beaucoup de Congolais entrent dans ces métiers du cinéma par l’Afrique du Sud, où il y a une grande communauté congolaise. Il y a déjà deux réalisateurs installés en Afrique du Sud, Makela Pululu et Sandra Boukhany, qui sont des anglophones, mais ils parlent couramment français toujours. Mais, l’anglais est leur « everyday » langue. Claude Haffner, d'origine congolaise, travaille plutôt dans l'assistanat de production. Un autre congolais Petna Ndaliko vit dans l’est du Congo et est constamment en relation avec l’Ouganda. À partir du moment où le cinéma et l’audiovisuel se professionnalisent en Afrique, l’anglais sera de plus en plus le passage obligé.

Ton évolution dans le cinéma depuis le début jusqu'à aujourd'hui...

J’ai fait neuf documentaires, quatre au Bénin, quatre au Congo et un en France. J’ai traité de sujets surtout politiques et sociaux. Je pense que les films qui m’ont fait le plus connaître sont : « Anna l’enchantée », sur une jeune chanteuse vivant dans un milieu polygamique, « Sorcière la vie ! » sur la mixture de croyances au Congo Kinshasa, et le dernier « Entre la coupe et l’élection », sur la première équipe d’Afrique Noire à avoir été en coupe du monde en 1974. Actuellement, j’ai repris des études, en faisant une année de maîtrise en scénario et je suis en pleine écriture de deux projets de fiction, un court et un long-métrage. En dehors de ces projets, j’ai édité un recueil de poésies du nom de Yémadja et je prépare un recueil de nouvelles. Je suis certaine que j’écrirai de plus en plus au fil du temps. Pourquoi pas des romans et des essais. J’aimerais beaucoup devenir professeur de cinéma.

J’ai beaucoup aimé ton film « Anna l’enchantée », est-ce que tu peux parler de la conceptualisation du film et sa production ?

J’avais rencontré Anna dans un club de jazz à Cotonou et j’avais été très impressionnée par sa voix. Peu de temps après, j’ai été contactée par une productrice française qui cherchait une réalisatrice béninoise pour une série qui s’appelait : « Girls Around the World » et qui visait à faire le portrait de jeunes filles de 17 ans, venant des quatre coins du monde et qui serait filmées par une réalisatrice de leur pays. Il fallait que cette réalisatrice ait déjà eu une expérience de co-production internationale. Finalement, vivant au Bénin, j’ai été choisie. Et on m’a demandé de penser à une jeune fille de 17 ans, qui pourrait symboliser la situation psychologique et émotionnelle, d’une africaine à la veille de l’an 2000. J’ai repensé alors à cette chanteuse Anna, toute contente d’avoir les moyens de faire un film sur elle. Mais, j’ai réorienté mon scénario. Si je n’avais pas été intégré à la série « Girls Around the World », j’aurai surtout fait un film sur elle, en tant que chanteuse.

Mais, ma commande était de montrer son environnement et son style de vie. Quand j’ai pensé à Anna, j’ignorais complètement qu’elle vivait dans une famille polygamique : cela a été la grande chance du film, de rentrer de façon presque intimiste dans cette famille, à la fois traditionnelle et moderne, qui représentait bien toutes les contradictions de notre contemporanéité africaine. J’ai su tout de suite que je devais me faire du père un allié. Ce monsieur s’est senti respecté par moi. Et, moi, je viens aussi d’une famille polygamique, même si toutes les femmes ne vivaient pas ensemble : nous sommes 13 enfants issus de 4 femmes et j’ai dû toute ma vie gérer ces aspects de notre vie familiale. Et essayé d’aimer mes frères et de les soutenir quelle que soit leur mère. Je pense que mon père a fait en sorte que cela se passe bien entre nous. Cela a dû aider à ce que je me sente vraiment à l’aise dans cette famille et qu’eux se sentent à l’aise avec moi.

 
Entretien avec Monique Mbeka Phoba de 1997