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Showing posts with label Ethiopia. Show all posts
Showing posts with label Ethiopia. Show all posts

04 August 2025

Africa Reframed - Sosena Solomon journeys across Africa to capture the continent’s rich cultural heritage

Africa Reframed
Sosena Solomon journeys across Africa to capture the continent’s rich cultural heritage

In a new 12-part film series commissioned by the Metropolitan Museum of Art and the World Monuments Fund, Ethiopian-American filmmaker Sosena Solomon journeys across Africa to capture the continent’s rich cultural heritage and through the eyes of those who protect it.

Image Source: Forbes Africa : Solomon interviews a priest at Abuna Yemata Guh, an ancient monolithic church carved into the sandstone cliffs of Ethiopia’s Tigray Region (Image by Stephen Battle)

Also see: https://www.forbesafrica.com/entertainment/2025/07/31/africa-reframed-how-this-ethiopian-american-filmmaker-captured-the-continents-rich-culture/

09 June 2024

Ruth Hunduma, laureate of the Hypatia Golden Award for the documentary The Medallion at the 10th edition of the Alexandria Short Film Festival (ASFF) in Egypt

Ruth Hunduma, laureate of the Hypatia Golden Award for the documentary The Medallion at the 10th edition of the Alexandria Short Film Festival (ASFF) in Egypt

The documentary portrays the filmmaker's mother, a survivor of the Red Terror in Ethiopia which left hundreds of thousands of victims. A powerful testimony to a nightmare that remains unknown in the West.

Excerpted from an interview with Ruth Hunduma by Nicolas Bardot at lepolyester.com
The idea for the film came from a short story I wrote when I was at university called The Medallion, about the genocide of the Red Terror, from the point of view of my mother. In 2022, during the Tigray War, as I was preparing to travel to Ethiopia to spend time with my mother, my producer suggested that I re-visit the story of The Medallion. Within the context of the civil war at the time, it was the perfect context to open up a discourse not only about the war itself, but also about Western media bias during the Red Terror genocide, which unfortunately, like the Tigray war, attracted little or no attention. I started filming it myself with the cameras that I had on hand; and bit by bit, I started constructing the DNA of the film.

23 January 2023

Salem Mekuria: Awra Amba’s (E)utopia - Work in progress

Salem Mekuria:  Awra Amba’s (E)utopia - Work in progress

Trailblazing Ethiopian filmmaker and visual activist Salem Mekuria’s fundraising appeal towards a feature documentary:

I am raising money to complete a full length film documentary about the unique community of Awra Amba.  The film will tell the story of how a small dusty village called Awra Amba in Northern Ethiopia gave birth to a uniquely indigenous utopian society in 1972, and is still thriving fifty years on. In the spring of 2022, Awra Ambans celebrated their 50th anniversary. I have been documenting their story since 2014. but filming was suspended because of the Covid Pandemic and the armed conflict in Tigray. Now that the conflict is on the way to resolution, I would like to complete shooting the final portion of the film in February-March 2023. Please help me complete shooting the documentary.
No donation is too small!

To support this effort and make a contribution go to: https://www.salemmekuria.com/
See Facebook Page: https://www.facebook.com/donate/573588941013900/573588947680566/ 

Image & Text source: salemmekuria.com


Description
Awra Amba’s (E)utopia Seventy five years ago, Zumra Nuru was born into a traditional agrarian Muslim family in a remote village in Northern Ethiopia near what is now Awra Amba. Though he never went to school as a child he started questioning why things were as unequal and unjust as he observed life in his village to be.  He dreamt of a society where people could live in peace and full equality regardless of who they were. Fifty years ago that dream materialized into what is now known as Awra Amba, a community based on true equality in all aspects of life and where religion is a private affair. With interviews and scenes of the village of Awra Amba and its inhabitants, the short film Awra Amba's (E)utopia will give you a glimpse into the unique lifestyle of this revolutionary society thriving in the heart of a very conservative Ethiopia. To see the short film use the Vimeo link below.

04 December 2022

JOURNEY(S): A docupoem anthology by Saaret E. Yoseph


JOURNEY(S)
A docupoem anthology by Saaret E. Yoseph

JOURNEY(S) is a narrative trip between distant sister cities—Addis Ababa, Ethiopia & Washington, DC. The experimental docupoem anthology combines interview excerpts of oral history with original poetry to explore identity, migration, memory and the meaning of “home.” 

The text below documents the Zoom event held on 22 December 2022. The actual film, streamed on kweliTV is 39 minutes.
 
*** 
 
Inspired by poet Ntozake Shange’s acclaimed choreopoem For Colored Girls, director/producer Saaret E. Yoseph sifts through her own cultural biography, creating a short-form audio series that follows the stories of Ethiopian women, who arrived in the District prior to or during the 1980s. 

An eclectic collage of language and movement, each episode of JOURNEY(S) will be roughly 5-8 minutes long and paired with a video portrait dedicated to the Black feminine gaze. Visual source materials will be spliced and reimagined, including advertisements, newspaper headlines and pictorials from the 60s, 70s and 80s, ripped from the pages of history and transformed for the anthology, in order to speak to the collective experiences of Black transnational women across the African diaspora.

Updated on 4 August 2025 to include kwelTV link. Original post included Zoom link which is no longer available.

 

24 August 2022

Eyerusaleam Kassahun: Review of Fig Tree by Aäläm-Wärqe Davidian

Eyerusaleam Kassahun: Review of Fig Tree by Aäläm-Wärqe Davidian


Aäläm-Wärqe Davidian, director. Fig Tree. 2018. 93 minutes. Amharic. Black Sheep Film Productions


Published online by Cambridge University Press:  19 August 2022


Fig Tree explores the dilemma of Mina, a sixteen-year-old Ethiopian Jewish girl, who becomes increasingly resistant to her family’s plan to leave Ethiopia for Israel because she is determined not to leave until she has rescued her Christian boyfriend Eli from being drafted into the Derg regime’s army. Read entire review at African Studies Review


Eyerusaleam Kassahun is a lecturer in theatre arts at Addis Ababa University. She directed the romantic comedy Trafiqua (Traffic Cop) and published an essay on women in Ethiopia’s film industry.

17 October 2021

Jessica Beshir: Faya Dayi - FESPACO 2021

Jessica Beshir
Faya Dayi
Ethiopia
120min - Documentary - 2021

Synopsis
Ethiopian legend has it that khat, a stimulant leaf, was found by Sufi Imams in search of eternity. Inspired by this myth, Faya Dayi is a spiritual journey into the highlands of Harar immersed in the rituals of khat, a leaf that Sufi Muslims chewed for religious meditations – and Ethiopia’s most lucrative cash crop today. Through the prism of the khat trade, Faya Dayi weaves a tapestry of intimate stories of people caught between violent government repression, khat-induced fantasies and treacherous journeys beyond their borders, and offers a window into the dreams of the youth who long for a better life. Source: Fespaco.org

D’après la tradition soufie, si l’on mâche le khat, une feuille verte aux vertus stimulantes, on trouve le chemin vers l’éternité. Ce premier film de Jessica Beshir est un voyage dans les montagnes d’Éthiopie où le khat est devenu une culture répandue et lucrative. Entre légende et réalité, Faya Dayi raconte l’histoire d’un peuple qui vit de cette feuille minuscule mais puissante.
Source: film-documentaire.fr

Bio
Jessica Beshir is a Mexican-Ethiopian director, producer and cinematographer based in Brooklyn. She made her directorial debut with her short film, HAIRAT, which premiered at Sundance  2017/ Criterion/ Topic/ The Atlantic. She is a recipient of the Sundance documentary fellowship, Jerome Foundation, Doha Film Institute and NYSCA artist fellowships. Her short films including He Who Dances on Wood/PBS and Heroin/Topic, have screened at Festivals and museums around the world including the Rotterdam Film Festival, Hot Docs, IDFA, Tribeca Film Festival, Museum of the Moving Image NY and the Eye Film Museum Amsterdam among others. Faya Dayi is her feature film debut.
Source: https://www.fayadayi.com/info

Mexicaine-Éthiopienne Jessica Beshir est une réalisatrice, productrice et directrice de la photo. Elle a obtenu sa Licence en études cinématographiques et littérature à l'Université UCLA (Californie, USA). Elle a réalisé le court métrage HAIRAT (2017) et le court métrage He Who Dances on Wood (2017). Elle est en train de produire son premier long métrage dont l'action de passe à Harar, en Ethiopie. Jessica vit à Brooklyn, New-York (Etats-Unis).
Source: africine.org/index.php/personne/jessica-beshir/52418

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

09 February 2021

New York African Film Festival 2021: "Min Alesh?" by Amleset Muchie

Amleset Muchie
Min Alesh?
Ethiopia
2019 - Fiction - 84mins

Set in Merkato, a sprawling, open-air market in Addis Ababa, Ethiopia, Min Alesh? tells the inspiring story of 21-year-old Selam, whose perseverance transforms her life for the better. Having grown up amid poverty and hardships, Selam is determined to change her and her family’s circumstances through her passion for running. An international race offers her a chance to achieve her dream.

More information:
https://virtual.filmlinc.org/film/min-alesh/

Ethiopian filmmaker and actress Amleset Muchie joins film producer Selma Idris in a discussion about Amleset's film, "Min Alesh?"
https://www.youtube.com/watch?v=ZVuNmmtgwYQ
 

14 December 2020

"The Women Blowing up Ethiopia's Film Industry". An essay by film scholar Steven W. Thomas

 "The Women Blowing up Ethiopia's Film Industry". An essay by film scholar Steven W. Thomas

The Women Blowing up Ethiopia's Film Industry. Successful Female Writers, Directors, and Producers Set the Nation Apart From Hollywood, Bollywood, and the Rest of World Cinema. Published September 11, 2020 on Zocalopublicquare.org

Scholar Steven W. Thomas traces the contributions of Ethiopian women in cinema, adding an important discourse to African Women in Cinema studies on the works of Ethiopian women in the country as well as the Ethiopian diaspora.

Read article at the following link: https://www.zocalopublicsquare.org/2020/09/11/women-ethiopian-film-industry-rukiya-ahmed-helen-tadesse-arsema-workukidist-yilma/ideas/essay/

Image: Steven W. Thomas

17 August 2020

RECENT FILMS. Tamara Mariam Dawit: "Finding Sally" (Ethiopia/Canada)

Tamara Mariam Dawit
Finding Sally
(2020)
Ethiopia | Canada
Documentary | Documentaire
78 min

Source: https://catbirdproductions.ca/fr/productions/finding-sally

Synopsis
Finding Sally tells the incredible story of a 23-year-old woman from an upper class family who became a communist rebel with the Ethiopian People’s Revolutionary Party. Idealistic and in love, Sally got caught up in her country’s revolutionary fervour, landing on the military government’s most-wanted list. She went underground, and her family never saw her again. Four decades after Sally’s disappearance, filmmaker Tamara Dawit pieces together the mysterious life of her aunt Sally and revisits the Ethiopian “Red Terror”, a period of violence, upheaval and mass killings that nearly wiped out a generation of educated young people in the country.

Finding Sally raconte l’histoire improbable de Sally, une jeune femme de 23 ans issue d'une famille de la haute société, qui décida de s’enrôler dans la lutte communiste du Parti Révolutionnaire du Peuple Éthiopien. Ses idéaux romantiques la conduisirent au cœur de la ferveur révolutionnaire du pays, la propulsant ainsi au palmarès des ennemis de l’état les plus recherchés. Ses proches ne la revirent plus jamais. Quarante ans après la disparition de sa tante Sally, la cinéaste Tamara Dawit remet en place les pièces du puzzle afin de comprendre le mystérieux parcours de celle qu’elle n’a jamais connue. Elle revisite la "Terreur Rouge" éthiopienne, une période de violence, de bouleversements et de massacres qui fit une demi-million de morts en Éthiopie.

Bio: Tamara Mariam Dawit
Tamara Dawit is a producer/director based in Addis Ababa, Ethiopia where she runs a production company Gobez Media that produces Ethiopian film, TV, digital and music content. Tamara has experience producing music content, tours, creative documentaries, digital content, formatted television and is now branching into dramatic films. She has produced content for CBC, Bravo, MTV, Radio Canada, Discovery, and NHK, among other networks. She directed the short film Grandma Knows Best (Bravo) and the feature documentary Finding Sally (CBC) which will be released in 2020.

Tamara fusionne les arts et la justice sociale à travers ses projets. Pendant dix ans, elle a dirigé le projet 411 Initiative For Change , une organisation artistique pour laquelle elle a réalisé des présentations multi-arts qui ont été présentées à plus de 500 000 jeunes à travers le Canada. Tamara a produit les documentaires Forgotten Children (2007, EOne) et Girls of Latitude (2008, MTV / CTV) et elle a produit et réalisé Grandma Knows Best? (2014, Bravofactual). Elle est d'origine éthiopienne, érythréenne, ukrainienne et britannique. Elle a vécu, voyagé et travaillé beaucoup au Soudan du Sud et en Éthiopie.

07 November 2019

A Fool God, un/a film de/by Hiwot Getaneh - Analyse/Analysis par/by Djia Mambu (Africine.org)

A Fool God, un/a film de/by Hiwot Getaneh - Analyse/Analysis par/by Djia Mambu (Africine.org)

Source: africine.org. Publ: 27/09/2019
Translated from French by Beti Ellerson, an African Women in Cinema Blog collaboration with Africine.org


Ethiopian director Hiwot Getaneh returns to the Toronto International Film Festival (September 5-15, 2019) with her short film A Fool God, where she delves into the world of a little girl in deep reflection about guilt.

A Fool God explores the universe of Mesi, who seeks to exculpate herself from the condemnation of her grandmother for having cut off the head of a hen, a ritual reserved for men, and hence should have been done by her brother. While Mesi thinks she has done well in trying to help the latter who did not succeed, her grandmother holds her responsible for the death of her mother, who dies afterwards. As a sign of mourning, the grandmother shaves Mesi's head and takes the opportunity to recount a time-honored classic tale: the guilt of a poor farmer who steals from his uncle and then goes to God, asking for forgiveness. In order to prove her good faith to her grandmother, every chance she gets Mesi reinterprets the tale in her own way. Can we do wrong if our intention is good? Why blame someone who has committed an act in good faith? For Mesi, the one who condemns is a fool; and God included, if he does not pardon the condemned person.

The cinéaste Hiwot Getaneh once again puts a child at the forefront inviting us to openly question ourselves beyond all the influences impregnated by our environment, as well as our own values: faith, culture, justice, solidarity, etc. As in her previous film New Eyes where a young girl having just reached puberty begins to develop sensual feelings and desires, after witnessing a couple in amorous embrace, we are led to observe the unfolding of an innocent body and pure spirit.

The Ethiopian director takes as a starting point an original story that her grandmother recounted often when she was growing up and that she liked a lot. Moreover, Hiwot Getaneh recalls that as a child, she often accompanied her grandmother to the pension fund distribution centre, very common in a country where parents, mostly widows and mothers, go to collect the pension of a husband or soldier son who has disappeared--as we see Mesi accompany her grandmother.

A Fool God takes us back to our youth where we saw our unrestrained acts being corrected by adults, where we were confronted by prohibitions and where we had to evaluate our judgments; which we finally understood, only when we became adults.

***
A Fool God,  un film de Hiwot Getaneh
Djia Mambu,
Toronto, Septembre 2019

La réalisatrice éthiopienne Hiwot Getaneh revient au Festival International de film de Toronto (5-15 septembre 2019) avec son court métrage A Fool God où elle questionne l'univers d'une petite fille en pleine réflexion sur la culpabilité.
Version originale en Français. Lire l’article en intégralité sur http://africine.org/?menu=art&no=14767


29 October 2019

Ndiva Women’s Film Festival 2019: Many Love by Rediat Abayneh (Ethiopia)

Ndiva Women’s Film Festival 
(Ghana)


Many Love (2019)
Rediat Abayneh
Ethiopia
Fiction 

Synopsis
Saron discovers that her younger brother Abi committed a crime by raping her boyfriend’s little sister. She persuades herself that Abi has done this due to the long-term illness that kept him isolated from his peers and decides to help him avoid punishment and escape. Saron’s boyfriend Bereket unsuccessfully pleas and urges her to turn Abi in but in the end, it all comes down to Saron and her conscience. Will she go through with her plan? (20 min. 20 sec.)

Biography
Rediat Abayneh is a freelance animator and Film-maker based in Bristol. Her works are mostly inspired by the culture, story and art of ancient Abyssinian. She also have a strong interest working with digital paintings as well as running creative workshops for young people. (Source: https://filmfreeway.com/ManyLove)

19 September 2019

Aäläm-Wärqe Davidian: Fig Tree (Afrika Film Festival Köln 2019)

Aäläm-Wärqe Davidian
Fig Tree

Aäläm-Wärqe Davidian (Israel-Ethiopia)
Fig Tree, 2018, 93 min.

DESCRIPTION

English
Set in 1989 during the Ethiopian civil war, fourteen-year-old Mina, who is Jewish, tries to prevent her Christian boyfriend Eli from being drafted. When she discovers her family’s plans to move to Israel, she devises a plot to save Eli. Aäläm-Wärqe Davidian’s coming–of-age debut film is based on her childhood memories of a civil-war-torn Ethiopia.

Français
Pendant la guerre civile qui déchire l’Ethiopie, la famille de Mina, une adolescente de 14 ans, décide de quitter le pays pour Israël. Mais Mina ne peut se résoudre à quitter son ami Eli dont elle est secrètement amoureuse. Malgré la guerre qui fait rage, Mina fera tout ce qu’elle peut pour sauver l’amour de sa vie avant que ne se termine leur enfance. (Source: Cineuropa)


BIO: AÄLÄM-WÄRQE DAVIDIAN

English
Aäläm-Wärqe Davidian is an Ethiopian-Israeli film director, born in the village of Awash and raised in Addis Ababa, she immigrated to Israel with her family at the age of 10 years-old. She studied filmmaking at the Sam Spiegel Film and Television School and worked as assistant for the documentarist Ada Ushpiz. Her debut film The Fig Tree, which relates the history of Jewish Ethiopian immigration during the the Ethiopian civil war, is based in part on her own personal experiences.

Français
Aäläm-Wärqe Davidian est une réalisatrice israélo-éthiopienne. Née dans le village éthiopien d’Awash et élevée à Addis Ababa, elle a immigré en Israël avec sa famille à l’âge de 10 ans. Elle suit une formation en cinéma, notamment à l’Ecole Sam Spiegel Film & Television et en tant qu’assistante de la documentariste Ada Ushpiz. Son premier film, Le Figuier raconte l’histoire de l’émigration éthiopienne juive en Israël lors de la guerre civile éthiopienne, reflètant en partie, son expérience personnelle.

IMAGE: Crédit - Menemsha Films

22 September 2018

Toronto International Film Festival 2018 Laureates: Aäläm-Wärqe Davidian (Fig Tree), Meryam Joobeur (Brotherhood)

Toronto International Film Festival
2018 Laureates:
Aäläm-Wärqe Davidian, Meryam Joobeur


Aäläm-Wärqe Davidian (Ethiopia/Israel) Fig Tree (2018) Eurimages Audentia Award for Best Female Director | Eurimages Prix Audentia de la meilleure réalisatrice

Synopsis

English
Set in 1989 during the Ethiopian civil war, fourteen-year-old Mina, who is Jewish, tries to prevent her Christian boyfriend Eli from being drafted. When she discovers her family’s plans to move to Israel, she devises a plot to save Eli. Aäläm-Wärqe Davidian’s coming–of-age debut film is based on her childhood memories of a civil-war-torn Ethiopia.

Français
Pendant la guerre civile qui déchire l’Ethiopie, la famille de Mina, une adolescente de 14 ans, décide de quitter le pays pour Israël. Mais Mina ne peut se résoudre à quitter son ami Eli dont elle est secrètement amoureuse. Malgré la guerre qui fait rage, Mina fera tout ce qu’elle peut pour sauver l’amour de sa vie avant que ne se termine leur enfance. (Source: Cineuropa)


Meryam Joobeur Brotherhood (Tunisia-USA) IWC Short Cuts Award For Best Canadian Short Film | Le prix du meilleur court-métrage canadien
Synopsis

English
The film tells the story of Mohamed, an unsentimental shepherd living in rural Tunisia with his wife and two sons, deeply troubled by the return of his eldest son Malik from Syria. The latter, who has returned with a mysterious new wife, is confronted with his father’s disapproval. The tension between father and son intensifies over three days until it reaches a breaking point.

French
The film raconte l’histoire de Mohamed, un berger endurci vivant en Tunisie rurale avec sa femme et ses deux fils, qui est profondément ébranlé lors du retour de Syrie de son fils ainé Malik. Celui-ci, de retour avec une mystérieuse nouvelle épouse fait face au regard désapprobateur de son père. La tension entre le père et le fils s’intensifie sur trois jours jusqu’a attendre un point de rupture. (Source : Kapitalis)



13 February 2018

Lucy Gebre-Egziabher: A Woman on a Mission

Lucy Gebre-Egziabher: A Woman on a Mission

U.S.-based Ethiopian filmmaker-professor Lucy Gebre-Egziabher is a woman on a mission to empower as many women as possible to take leadership roles in cinema. While planning for the curriculum for her seminar, “From Script to Screen” as a Fulbright Scholar in Addis Ababa in the fall of 2016, she put into practice what she already understood about the importance of having gender parity in her classroom. She asked the admissions representative to actively encourage women to enroll. Women answered the call. Her empowerment strategy had proven successful: the U.S. Embassy in Addis Ababa invited her to lead a screenwriting workshop for Ethiopian women journalists and filmmakers in conjunction with its consciousness raising campaign on gender-based violence (GBV). The women responded again energetically: these women were on a mission! She developed the screenwriting workshop, entitled “Telling Herstory”, around the theme of gender-based violence. Each of the three scriptwriting finalists produced a five-minute film, funded by the U.S. Embassy, which was screened at the launching of its GBV campaign. 

The “Telling Herstory” initiative was the beginning of what Lucy hopes to be an ongoing collaboration between her home institution, NOVA, Northern Virginia Community College where she teaches filmmaking, and Ethiopia.

I recently asked Lucy about their current activities and, yes, she and the women are still on a mission! 

What have you been working on since your “Telling Herstory” workshop in Addis?

I am happy to report that two years after the meeting in Addis with the Women on a Mission team I am still in touch with them and am continuing to mentor some of these talented sisters! When we left off, we had agreed that the first project to tackle would be the documentary on the Yellow Movement, about the Ethiopian women lawyers/activists for women’s rights.

I am blessed to say that I am still working with three of the Women on a Mission team. The rest are there in spirit, but since some of them come from print media, broadcast, etc., their involvement is less.

Talk a bit about the three Women on a Mission who you are mentoring.

Serkadis Megabiyaw is the filmmaker whose short won the Dean's Award for cinematic distinction at the 2017 NOVA Student Film Festival. She also has a TV show in Addis called Endewaza. Meaza Hadera is a journalist for EBS (Ethiopian Broadcasting Service) and has made a short that is timely and on point after our training; it addressed the issue of child marriage in Ethiopia. Redeat Abate is an architect by training but has a passion for filmmaking; she is a screenwriter and a set designer, and in my opinion would make a great producer! I have been mentoring these talented women as well as giving moral support, or helping them network with industry people. 

Just to give context, the Film Collaborative International is a forum that you created, bringing together the works of the film students at NOVA and in Ethiopia to be presented at the NOVA Student Film Festival. And Serkadis Megabiyaw, who you mentored during your Fulbright stay in Addis Ababa, won the Dean’s Award! Bravo!

To return to your Women on a Mission projects, there are a few in the works?

Yes, one is a documentary on the Yellow Movement that I will be executive producing. It was a very high-profile case due to local lobbying. The movement was also the first to blog and post about the case of Hanna, a young girl who was gang raped and left to die, a few years ago. The Yellow Movement established its niche as a nucleus serving to mobilize, influence, lobby and advocate with and for women of Ethiopia, including combating gender-based violence. This project is in pre-production stage. [Follow link for more information about the Aberash Case].

The second is a short narrative on climate change, which is part of the Films Without Walls series. These women are representing Ethiopia in this international film initiative and will make a short film that will be screened at the 2018 NOVA Student Film Festival – Films Without Walls Series. As of today, we have several countries from around the world participating.

I just want to recall that there was post on the African Women in Cinema Blog announcing the call for collaborations for the Films Without Walls Series and you talk about how it came about.

What is the other project that is in the works?

Finally, the formation of the Ethiopian Women Filmmakers Association (EWFA) is still a goal and a dream.  I believe it can serve as the entity needed through which to provide support and training opportunities to young and upcoming Ethiopian women filmmakers in Ethiopia. The idea was to have the EWFA produce the documentary on the Yellow Movement and in turn have the women lawyers from the Yellow Movement help with the legal work to establish EWFA. Sisters supporting and helping to uplift each other is the motto! Amen!

And there is a more expansive project to get other women on a mission involved! 

Yes, I am working as we speak to develop "Telling Herstory" screenwriting workshops for young women filmmakers to be delivered in various countries in Africa. That is also a dream! Anyway, will keep you posted. Until the next one! 

Conversation with Lucy Gebre-Egziabher and Beti Ellerson, February 2018.

Images courtesy of Lucy Gebre-Egziabher

26 April 2017

Tibeb Girls, an animation project by Bruktawit Tigabu (Ethiopia)

Tibeb Girls, an animation project
by Bruktawit Tigabu
Ethiopia

Bruktawit Tigabu, an elementary teacher in Ethiopia who wants to improve literacy, especially for young girls, is founder and director of Whiz Kids. She is developing the “Tibeb Girls Series”, an animation project about three young super heroines.

Source:

The Tibeb program will help provide a social behavioral change communication package & health care services for adolescents, helping them to learn about the changes that happen at their age and to explore their world in a healthy way.

The program is comprised of the Tibeb Girls series, the Tibeb school clubs and making health services available for adolescents and women.

Tibeb Girls’ series will be a 2d Animation Series about three African adolescent super heroines taking the audience on a fun, imaginative and educational journey as they thrive to understand the changes that are happening to them and the struggles girls face everyday. To enhance the reach of this program to the most remote and rural areas it will be adapted to radio and comic books.

Tibeb school clubs will have engaging and interactive guides to provide information about the different reproductive health issues adolescents face.

02 February 2017

Focus on sexual abuse of girls: Fre by/de Kinfe Banbu


Focus on sexual abuse of girls

Fre by/de Kinfe Banbu

Synopsis:

[English]
The film focuses on the life of a widowed father and his daughters’ struggle. After his daughter was raped the father goes through ups and downs to save his sexually abused daughter. The film reflects on how the table could turn in a blink of an eye.

[Français]

Le film met l'accent sur la vie d'un père veuf et la lutte de ses filles. Après que sa fille a été violée, le père passe par des hauts et des bas pour sauver sa fille sexuellement abusée. Le film reflète sur la façon dont la table pourrait tourner en un clin d'œil.

WRITER AND DIRECTOR | SCENARIO ET REALISATION :
KNIFE BANBU

FELEKE YEMARWIHA ABEBE -- EMA BIZUNHE -- RAHEL GIRMA -- BETLIHEM ASNAKE

Make-up | Maquillage: TAMRAT YARED (KIDUS)
Continuity | Continuité:  MEQDELAWIT GIRMA
Production Manager | Directeur de production: SIMON HAYLE
Director of Photography | Directeur de la photographie: SEDAKIYAL AYELE
Promoter | Promoteur:  EBRAHIM KEDIR (EBRO)
Assistance Camera | Caméra d'assistance:  MEBRATU YOHANNS
Sound | Audio:  BZUAEYEHU ABERA
Film score | Partition de film:  SULLTAN NURI (SOFI)
Editor | Montage:  YITAYEWAMLAK ZERGAW
Executive Producer | Producteur exécutif: SHEGER FILM PRODUCTION





17 March 2016

"Labyrinth of Belonging" the story of the enigmatic Ethiopian Nun Composer Emahoy Tsege Mariam Gebru

GoFundMe Crowdfunding Campaign for the film "Labyrinth of Belonging" the story of the enigmatic Ethiopian Nun Composer Emahoy Tsege Mariam Gebru 

Hanna Kebbede is organizing this fundraiser on behalf of Emahoy Tsege Mariam Music Foundation Inc.

Source : Gofundme

About this project

The Emahoy Tsege Mariam Music Foundation is producing a biopic of the nun musician. Emahoy’s life spans three continents and nine decades, a study in Europe, the Italian occupation of Ethiopia during WWII, preparing to be a concert pianist and a call to monastic life. It is epic. Little is known about her journey both as a musician and as a spiritual figure. Although she had published vinyl records in the 70s it was her solo compositions in Ethiopiques 21 published by Buda Musique that made her world famous. She was 85 years old then, and at the age of 93 she continues to play music and has a sharp mind.

Visit Labyrinth of Belonging - documentary film for details about the fundraising efforts and to make a contribution. 


18 September 2015

Hiwot Admasu Getaneh: “New Eyes” (Ethiopia | Ethiopie)

New Eyes de/by Hiwot Admasu Getaneh (Ethiopia | Ethiopie)


About the film | À propos du film:

The idea of ​​this short film is to get young adolescents to understand that puberty and its changes, that the discovery of sexuality, that its understanding and mastery, are not things that must remain taboo or be repressed.

L'idée de ce court-métrage est de faire comprendre à de jeunes adolescents que la puberté et ses changements, que la découverte de la sexualité, que sa compréhension et sa maîtrise, ne sont pas des choses qui doivent rester taboues ou être réprimée.


In Ethiopia, near the capital Addis Ababa, a young teenage girl is witness to an experience that will awaken her sexuality for the first time in her life. Troubled by this revelation, she tries to understand and control this new emotion.


During an ordinary morning at the riverside,  a shy girl sees a couple making love. Troubled, she tries to focus on what she is doing when the couple returns to the river for a swim. Nonetheless, she cannot help but look at the nude body of the man who is bathing. Her gaze is transformed, and hence, she observes her surroundings through the prism of her new desire, transforming everything and everyone into a sexual object. She then envisages her nascent sexual life and her place as a woman...

En Ethiopie, près de la capitale Addis-Abeba, une jeune fille en pleine adolescence est témoin d’une expérience qui va éveiller sa sexualité pour la première fois de sa vie. Troublée par cette révélation, elle essaie de comprendre et de maitriser cette nouvelle émotion.


Au bord d’une rivière, lors d’une matinée a priori ordinaire, une jeune fille timide aperçoit un couple en train de faire l’amour. Troublée, elle tente de se concentrer sur ce qu’elle est en train de faire lorsque le couple rejoint la rivière pour se baigner. Elle n’arrive alors pas à s’empêcher de regarder le corps nu de l’homme qui se lave. Son regard en est transformé et elle observe tout ce qui l’entoure à travers le prisme de son nouveau désir, transformant tout et tout le monde en objet sexuel. Elle entrevoit alors sa vie sexuelle naissante et sa place en tant que femme...

Filmmaker's Note of Intention | Note d’intention de la réalisatrice

My first inspiration for this story is an experience that I had at 12 years old. Although my experience is different from Selam's story, all the confusion, excitement and guilt that I felt at this time is reflected in the film. At the time, I was very pious and I felt guilty about these new emotions. Today, I consider this awakening as a beautiful event that changed my life.

Ma première inspiration pour cette histoire est une expérience vécue à 12 ans. Bien que mon expérience soit différente de l’histoire de Selam, toute la confusion, l’excitation mais aussi la culpabilité ressentie à cette époque est reflétée dans ce film. À l’époque, j’étais très pieuse et je me sentais coupable de ces nouvelles émotions. Aujourd’hui, je considère cet éveil comme étant un bel événement qui a changé ma vie.

Description

New Eyes tells the story of a young girl, whose experience during an ordinary day, triggers an evolution from puberty to the awareness of her sexuality, and the place of it in her new life as she journeys to womanhood. The story ends with an awareness of her desire and pleasure, without even realizing that this will be one of the major turning points in her discovery of herself and in the perception of her environment.

New Eyes raconte le parcours d’une jeune fille, lors d’une journée ordinaire, de la puberté à la prise de conscience de sa sexualité, et de la place de celle-ci dans sa nouvelle vie de femme. L’histoire s’achève dès le moment où elle prendra conscience de son désir et du plaisir, sans même encore se rendre compte que cela sera l’un des tournants majeurs dans sa découverte d’elle-même et dans la perception de son environnement.

09 September 2015

Highlighting Salem Mekuria: Trailblazer

Photo: salemmekuria.com
This post was originally published to highlight African women via films online during the Directed by Women worldwide film viewing party - 1-15 September 2015. It includes the link to the personal website of Salem Mekuria:
http://salemmekuria.com 

Text from Salem Mekuria website (updated):

Salem Mekuria is the director of Mekuria Productions, an independent film production company established in 1987. She is a professor emerita after teaching for twenty four years  in the Art Department at Wellesley College, Massachusetts. She splits her residence between Ethiopia and the United States. Since 1987, she has been an independent writer, producer, director, videographer, and a video installation artist. Her award winning documentary films and video installations feature Ethiopian subjects and have been shown internationally. (Photo: salemmekuria.com).

On this post I will take the opportunity to present excerpts from our interview in 1997 published in my book Sisters of the Screen: Women of Africa on Film, Video and Television, 2000.

Beti Ellerson: 
As an African woman filmmaker...do you see yourself playing a certain role as a woman?
 
Salem Mekuria:
When I'm working, I don't think necessarily that I would operate as a woman filmmaker. It's when I am in front of an audience that I know I'm being looked at as a representative of some rare sort, especially as an African woman or as a black woman in the United States, and I feel somewhat responsible, to be responsible. Because I think we have a lot of work to do, I feel that if I don't do well maybe others won't get the same chance that I have.  I'm privileged in many ways, that I have been able to do what I want to do, and so I feel like I should be so responsible sometimes, to make sure that I don't destroy...that I don't burn bridges for other women coming after me.  It's not an easy thing to be, and maybe because I am always the responsible sort, I don't know, sometimes I feel that there is a burden that I have to carry.  But at other times I feel really terribly privileged to be doing something that I love doing.

At other times I feel like I have to focus on stories about women because there aren't that many films being made about stories about women, by women especially. It's a mixed bag. There is real happiness that I am doing this, and there's a certain kind of tension of whether or not I can chose to do anything I want to do.  Do I always have to focus in areas where I feel there is a lack?  Do I have to fill a vacuum?  Those thoughts go in my head at times.

But I love doing stories about women.  Even when it has nothing to do with women particularly. For example, in
Deluge I gravitate towards including women, more women than men, getting stories from the women because I feel that their perspective is neglected. So I feel that is my role as a woman filmmaker. I also feel that I can do it better, because I feel that women open up more to me than they do to men, or they open up in different ways than with men. There is a certain comfort, there's a certain kind of shared experience, they don't have to explain to me. So I feel I have a better handle sometimes in getting some of the stories from women.  I feel that is also a part of my role as a woman filmmaker.

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