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Showing posts with label France-Diaspora. Show all posts
Showing posts with label France-Diaspora. Show all posts

01 October 2023

Aude N’Guessan Forget: Anansi - St. John’s International Women’s Film Festival - SJIWFF34 - Canada


Aude N’Guessan Forget
Anansi
St. John’s International Women’s Film Festival
SJIWFF34

21 October 2023

https://www.womensfilmfestival.com/shortfilms34/anansi


Aude N’Guessan Forget

Anansi

Fiction | France | 2022 | 20’


Eden, coiffeuse afro, tente de surmonter ses maux de ventre récurrents en prenant sur elle. Pas entendue par le corps médical, elle tente de se soigner seule. Lorsque ses douleurs la rattrapent, son quotidien devient invivable.


Eden, an afro hairdresser, tries to overcome her recurrent stomach aches by taking it upon herself. When her pains catch up with her, her daily life becomes unbearable. 



20 November 2022

Euzhan Palcy: saluée par un Oscar d'honneur | hailed by an Honorary Oscar

Euzhan Palcy saluée par un Oscar d'honneur


L'artiste martiniquaise reçoit le 19 novembre, à Los Angeles, la statuette décernée par l'Académie des Oscars. 


The Martiniquan artist receives the honorary Academy Award Oscar statue on 19 November in Los Angeles. 


Image: Screen capture Oscars YouTube

***


La réalisatrice française Euzhan Palcy, née en Martinique en 1958, est une pionnière qui a impressionné la planète cinéma dès ses débuts. Elle devient la deuxième cinéaste française, après Agnès Varda, à recevoir un Oscar d'honneur que l'Académie des Oscars lui remet le 19 novembre à Los Angeles, aux Etats-Unis.


French filmmaker Euzhan Palcy, born in Martinique in 1958, is a pioneer who left her mark on the cinema world from her very beginnings. She became the second Frenchwoman filmmaker, after Agnès Varda, to receive an honorary Oscar from the Academy of Oscars on November 19 in Los Angeles, United States.


Euzhan Palcy saluée par un Oscar d'honneur : la carrière de la cinéaste française L'artiste martiniquaise reçoit le 19 novembre, à Los Angeles, la statuette décernée par l'Académie des Oscars.  The Martiniquan artist receives the honorary Academy Award Oscar statue on 19 November in Los Angeles.


Below is a partial text of the acceptance speech. Transcribed by Beti Ellerson


Viola Davis presents the award to Euzhan Palcy


I will ask you my dear friends to bear with me because it is a great moment of emotion…Thank you dear members of the Academy Board of Governors and to everyone who came here tonight. And a special thanks to two brilliant female students who came all the way from Martinique, my native country, Erine and Salome. The school is called the Euzhan Palcy School, and I absolutely wanted to have one of the students from that school. And another high school…to be here tonight with us. Because if I make films it is for this generation and the upcoming one. And it was important that they come all this way with the support of everyone from Martinique to be here in this room, with you, with us. So they could see it and then go back home and to explain to the other kids what it is, how it was, and the people they met and how important that experience was for them.


When I look at you all friends, peers, colleagues, mentors, memory makers, I imagine an African proverb: “if you want to go fast, go alone, if you want to go far go together.” You know in your heart, no one reaches this stage alone. And I would not be here without the wisdom and love of all those who joined me in my journey. My heart is bursting right now thinking of my grandmother Kami, of my dad Léon, of my mother Murielle, and my godmother and godfathers: Maya Angelou, Aimé Cesaire, François Truffaut. Thank you to all the mentors who encouraged me, like Robert Redford, who invited me to attend the Thank you to all the mentors who encouraged me like Robert Redford who invited me to attend the Sundance Institute Filmmakers Lab in 1985, it was there that I workshopped a Dry White Season. I thank the cast and crew of all my films, especially those of Sugar Cane Alley, the Bride of Bourbon Island, and a Dry White Season. And a very important thanks to the audiences all around the world. Without them my films will not be consider as classics today, I love you all. And I would be remiss if I did not thank the source of all my good fortunes, the Almighty God....


Comments after the acceptance speech.


Viola Davis: When you are an artist of color and you are a woman, you have to be bold, it is built into the job description because there is so much of a deficit out there and there is so many obstacles being placed on you because of your gender, race, there are biases out there, that you have to approach you work like a warrior.


Euzhan Palcy: I come from a little place like Martinique, we are not many. I did not want to be a cineaste in order to be like the others. I feel that with my films I can enrich, bring my contribution—a bit of color, I would say, in this landscape.


(Oscars, YouTube)


Introductory text:

Falila Gbadamassi

France Télévisions


23 August 2022

Aissa Diaby: "Douleur silencieuse" (Silent Pain) - CINEF Festival du cinéma au féminin 2022

Aissa Diaby: "Douleur silencieuse" (Silent Pain) - CINEF Festival du cinéma au féminin 2022

Released in 2021, "Silent Pain" by director Aissa Diaby competes in three categories of the international competition at Cinef: Best sound, photography, and best short film.

Sorti en 2021, "Douleur silencieuse" de la réalisatrice Aissa Diaby concourt dans trois catégories de la compétition internationale au Cinef à savoir : Meilleur son, direction photo et meilleur court métrage.

Synopsis
In a traditional West African family, Ami, a studious and discreet 17 year-old, suffers from an oppressive secret. One evening, as the whole family comes together during dinner, Ami decides not to let it go any longer.

Dans une famille d'origine ouest africaine, où les traditions sont de rigueur, Ami , 17 ans, subit les agressions sexuelles de son oncle paternel à l'insu de sa mère. Un soir, alors que sa sœur et son mari viennent dîner à la maison, Ami décide de ne plus se laisser faire.



Cinéma : « Douleur silencieuse » le film de la guinéenne Aissa Diaby au festival de Cannes 2022 

Douleur silencieuse, le premier court métrage de la réalisatrice franco-guinéenne Aïssa Diaby a été retenu et projeté au Short Film Corner du festival de Cannes 2022.

La réalisatrice franco-guinéenne raconte:

  

05 August 2022

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

BLACK CAMERA
La noire de…, La passante and Many Others:
Framing Cinematic Representations of Afro-Descendant Women, Identity, and Positionality in France
by Beti Ellerson
Volume 14, Number 1, Fall 2022, pp. 334-348

Abstract

The influential film La Noire de… by Ousmane Sembene released in 1966, offers a range of themes for a discussion on afro-descendant women and their myriad experiences in relationship to France. The project that this article undertakes encompasses the period around the time of its release to the present. The challenge that it lays for itself is imbedded in a caveat posed as a question: What does the title even mean in the context of a “France” and more particularly a “Paris” that is often viewed as a “fantasy,” but is a real, concrete place—with its contradictions and faults, promise and hope? Who is this discursive cohort of afro-descendant women—negotiating their place in the country/the capital: as student, expatriate, citizen, first-generation diasporan, third-culture “glocal” transplant, traveler, immigrant, migrant? The films selected to problematize these questions set the framework for this discussion.
 
- Negotiating In-Between Identities
- Multiculturalism and French Universalism
- Afro-Descendant Women, Film Activism, and Representation
- Sarah Maldoror: Linking Generations

Published by Indiana University Press
URL: https://muse.jhu.edu/article/861216

12 December 2021

African Diasporas. Positioning France within afro-descendant women's cultural and cinematic imaginaries and identities

 Positioning France within afro-descendant women's cultural and cinematic imaginaries and identities
Reflections by Beti Ellerson

Notes continuing...
 
France has been a site of cultural and cinematic imaginaries for a generation of African women who have and continue to navigate its capital Paris and other areas of the Hexagon. With its rich cinema culture and history, it has been fertile ground for African women with an interest in filmmaking and screen culture production and activism as early as the 1950s and 1960s. A hub within which African women from Francophone regions and beyond may gather to network, study, edit, and research, many who sojourn to the country returning to their place of origin, while others make it their home, to settle, live and work. With such a strong presence of women who reside or circulate in France, it is not surprising that there is a corresponding level of recent activities and events that is emerging to meet their needs. Some of the cinematic gatherings with a focus on African women and/or women of the South dating back to the 1990s include the Women's International Film Festival at Creteil and Cannes. Continuing in this tradition are gatherings at landmark festivals such as Festival des films d'Afrique en pays d'Apt, as well as Francophone festivals in neighboring Switzerland, such as FIFF Festival International du Film de Fribourg. Moreover, the International Colloquium "Francophone African Women Filmmakers: 40 years of cinema (1972-2012)" held in Paris in November 2012 highlighted contributions of afro-descendant women in France, Africa and internationally. The proliferation of programming that includes afro-descendant women is no doubt a reflection of the universal call for multiculturalism and gender parity and a European imperative to focus on inclusion and diversity within its own population and borders.

The iconic Afrique sur Seine (Africa on the Seine), directed in 1955 by Paulin Soumanou Vieyra and his colleagues (Robert Caristan, Jacques Mélo Kane, Mamadou Sarr) while in film school in Paris, is a seminal work in the history of African cinema production. As colonial subjects of French West Africa, these African students migrated to France to study; and because they were not permitted to film in, at the time, French Colonial Africa, they constructed an Africa in Paris posing the question as a point of departure for the film: Is Africa in Africa, on the banks of the Seine, or in the Latin Quarter?

Revisited by the “grandchildren” of Afrique sur Seine more than sixty years later, the film continues to be relevant to a third generation of African filmmakers, which is indicative of the ubiquitous flow, exchange and influences inherent in the fluidity and circulation of peoples, ideas, and experiences within the global African world. And perhaps more significantly, it reveals the indelible impact on African cinematic discourse, of these initial attitudes regarding identity. For her graduation film, Une Africaine sur Seine (An African woman on the Seine), Senegalese Ndèye Marame Guèye revisits Afrique sur Seine, posing many of the same questions about home, place, location and subjectivity explored two generations before; her concluding remarks in the film:  Beautiful images will have to be born again in the Sahara, envisioned by the grandchildren of [Paulin Soumanou Vieyra] from an imaginary born of the rivers of Africa, and not of the waters of the Seine”.

And yet, as the exchange of ideas, visions, dialogue and knowledge increasingly globalizes, Ndèye Marame Guèye’s pronouncement is perhaps more symbolic than an actual prognosis for future generations of African makers. That she utters these words in a student film made in Paris, is indicative of the earlier practice that persist in the present: of student migration to the West to study and later settle to live and work, which is often due to the lack of film training in Africa as a whole, although there are schools and institutes that are steadily emerging throughout the continent. However, most return to their home countries after their studies, making important contributions to local, regional and continental cinema cultures. Conversely, there is a generation of first-gens who were born in the host country of their immigrant parents, which they call home, or the bi-racial and/or bi-cultural women whose parents met and settled in or returned to the country of one of the parents; or in still another “journey of identity”, who acquired their global hybrid identity as “third-culture individuals” during a childhood with expatriate parents who worked as professionals in host countries—some remaining outside of Africa, and others returning to the continent.

Hence, contemporary films by afro-descendant women frame their characters within an environment that contextualizes the current realities of present-day French society especially as it relates to identity, inclusion and belonging. However, these works, most of which are documentary films though the number of fiction films are growing, underscore the vexed realities of "other" French identities in the current French social and political landscape, in which their afro-descendant identities must be negotiated and are in perpetual flux.
 
A selection of articles on the African Women in Cinema Blog that frame contemporary afro-descendant women, identity and positionality in France

Afropolitaine webserie: 100% afro
Mame-Fatou Niang's and Kaytie Nielsen: Mariannes noires
https://africanwomenincinema.blogspot.com/2018/12/tv5monde-mariannes-noires-mame-fatou.html

Josza Anjembe: Le bleu blanc rouge de mes cheveux (The blue white red of my hair) | French
https://africanwomenincinema.blogspot.com/2018/06/mis-me-binga-2018-josza-anjembe-le-bleu.html

Amandine Gay: To be a black woman in France has its specific issues

Isabelle Boni-Claverie: Trop noire pour être française

Claude Haffner: Footprints of my other
http://africanwomenincinema.blogspot.com/2012/03/claude-haffner-black-here-white-there.html

Pascale Obolo: The Invisible Woman
https://africanwomenincinema.blogspot.com/2010/07/pascale-obolo-visible-woman.html

Gendered representations of Africans in the French Hexagon
 

18 October 2021

Nina Khada: Je me suis mordue la langue (I bit my tongue) - FESPACO 2021

Le Poulain d’argent
Nina Khada
Je me suis mordue la Langue (I Bit My Tongue)
Algeria
25min - Documentary - 2020


Description 
Since I am not able to go to my country, I decide to make a detour. I wander around the city of Tunis, looking for my mother tongue, Algerian.
 
Alors que je n'arrive pas à me rendre dans mon pays, je décide de faire un détour. Je déambule dans la ville de Tunis à la recherche de ma langue d'origine, l'algérien.

Bio
Filmmaker and editor Nina Khada was born in France of Algerian parents. After completing her studies in editing and journalism, she obtained a Masters in documentary filmmaking at the Université Aix-Marseille in France in 2014. She directed her first short documentary film, Fatima, about her grandmother in 2016. The film was selected in more than 50 festivals receiving several prizes.

Nina Khada, née en France de parents algériens, est réalisatrice et monteuse. Après un BTS Montage et une licence de Journaliste Reporter mages (JRI), elle est diplômée du Master Professionnel "Métiers du film documentaire" de l'Université Aix-Marseille (France) en 2014. Elle réalise en 2016 son premier court-métrage documentaire sur sa grand-mère « Fatima ». Le film est sélectionné dans une cinquantaine de festivals et reçoit plusieurs prix.


 

I bit my tongue - teaser from Nina KHADA on Vimeo.

10 April 2021

Vues d'Afrique 2021. Lina Soualem : Leur Algérie | Their Algeria

Vues d'Afrique 2021
vuesdafrique.org/

Lina Soualem
Leur Algérie | Their Algeria

Lina Soualem
Leur Algérie | Their Algeria
France | Algérie | Suisse | Qatar

2020 - Documentary - 70min

Synopsis
Lina's grandparents have decided to separate. Together, more than 60 years ago, they left Algeria for Thiers, in the center of France. Side by side they traversed this chaotic immigrant life. For Lina, their separation is the opportunity to investigate their long journey of exile, as well as her own identity.

Les grands-parents de Lina ont décidé de se séparer. Ensemble, ils étaient venus d’Algérie à Thiers, au centre de la France, il y a plus de 60 ans, et côte à côte ils avaient traversé cette vie chaotique d’immigrés. Pour Lina, leur séparation est l’occasion de questionner leur long voyage d’exil, ainsi que son identité.

Bio
Lina Soualem is a Franco-Palestian-Algerian filmmaker and actor born and based in Paris. After her studies in history and political science at the Sorbonne, she began to work as a journalist and as a programmer in film festivals, wanting to combine her interests in cinema and studies in contemporary Arab societies. Lina has worked as programmer for the International Film Festival for Human Rights in Buenos Aires and the Festival Palest’In & Out in Paris, among others. In 2019, her first feature documentary Their Algeria produced by AGAT Films & Cie, was awarded the prize for best doc-in-progress at the Doc Corner at Cannes. Their Algeria was created at the Festival international du film Visions du Réel 2020. During the past several years, Lina has acted in three feature films directed by Hafsia Herzi: Hiam Abbass and Rayhana. She is currently developing her second feature documentary and is working as creator and assistant director on fiction, series and documentary projects.

Lina Soualem est une cinéaste et actrice franco-palestinienne-algérienne, née et basée à Paris. Après des études d’histoire et de sciences politiques à l’Université de la Sorbonne, elle a commencé à travailler dans le journalisme et comme programmatrice dans des festivals de cinéma, cherchant à combiner ses intérêts pour le cinéma et l’étude des sociétés arabes contemporaines. Lina a travaillé comme programmatrice pour le Festival international du film sur les droits humains à Buenos Aires et le Festival Palest’In & Out à Paris, entre autres. En 2019, son premier long métrage documentaire, « Leur Algérie », produit par AGAT Films & Cie, a reçu le prix du meilleur doc-in-progress au Doc Corner du Festival de Cannes. « Leur Algérie » a été créé au Festival international du film Visions du Réel 2020. Ces dernières années, Lina a joué dans trois longs métrages réalisés par Hafsia Herzi, Hiam Abbass et Rayhana. Elle développe actuellement son deuxième long métrage documentaire et travaille en tant qu’auteure et assistante réalisatrice sur des projets de fiction, de séries et de documentaires.
 
https://www.youtube.com/watch?v=H-RTHK6m8Xc

18 February 2021

African Diasporas. Aïssa Maïga: "Regard Noir" about representation of Black Women on the Screen | La representation des femmes noires à l'écran - March 16 on Canal+


Aïssa Maïga: "Regard Noir" about representation of Black Women on the Screen | La representation des femmes noires à l'écran - March 16 on Canal+

En français : bfmtv.com Aïssa Maïga sort un documentaire [https://www.bfmtv.com/people/cinema/aissa-maiga-sort-un-documentaire-sur-la-representation-des-femmes-noires-a-l-ecran_AN-202102180161.html]

Activist and actress Aïssa Maïga passes behind the camera with her first film "Regard Noir", co-directed with Isabelle Simeoni. The film journeys to Brazil, the USA and France tracing the representation of black women on the screen. Broadcast on Canal+, the film debuts on March 16.

Image: lemediaplus

 

Read also on the African Women in Cinema Blog

Black is not my profession - 16 Black French actresses collectively publish a book https://africanwomenincinema.blogspot.com/2018/05/noire-nest-pas-mon-metier-16.html

Influential Women – Aïssa Maïga, Actress: "Read. Think. Create." An interview by Pamela Pianezza
https://africanwomenincinema.blogspot.com/2013/07/influential-women-aissa-maiga-actress.html

Être actrice noire en France: (dé)jouer les imaginaires par/by LUCIE ANDRÉ [To Be a Black Actress in France: (un)playing imaginaries]
https://africanwomenincinema.blogspot.com/2020/02/etre-actrice-noire-en-france-dejouer.html


27 January 2021

African Diasporas. Florence Bamba: Numéro 10 (Congo-France)

Florence Bamba

Numéro 10 (2020)
Congo-France - Fiction - 13m42s

Synopsis

Awa, a young law student who has a passion for soccer, is a regular among her neighborhood friends during practice. But her passion is not shared by everyone.

Awa, étudiante en droit, se passionne pour le football qu'elle pratique dans son quartier. Sa passion n'est toutefois pas du goût de tout le monde.

Source/Image: unifrance.org

Bio

Florence Bamba grew up in France, in Sartrouville, in a neighborhood called "Cité des Indes". Her father is from Congo and her mother from Senegal. She studied performing arts at Saint-Denis University (Paris 8). She joined the "La Ruche" writing residence at the Gindou film theater.

Florence Bamba, a grandi en France à Sartrouville, dans le quartier « Cité des Indes ». Son père est d’origine congolaise et sa mère sénégalaise. Elle a un licence d’Arts du spectacle à l’université de Saint- Denis (Paris 8). Ensuite elle est intégrée dans la résidence d’écriture « La Ruche » au Gindou Cinéma.

Source: manifest.pictures


05 December 2020

African Diasporas. Afropolitaine, la websérie 100% afro french touch - Réalisée par le duo de réalisatrices mère-fille | created by the mother-daughter duo Aline Angelo Milla et Soraya Milla (Cote d'Ivoire - Benin - France)

Afropolitaine, la websérie 100% afro french touch - Réalisée par le duo de réalisatrices mère-fille | created by the mother-daughter duo Aline Angelo Milla et Soraya Milla (Cote d'Ivoire-France)

La série raconte ce que c’est d’être en permanence entre deux cultures, parle de l’expérience de la multi-culturalité, montre la vie des noirs-es en région parisienne, et la vie de noirs-es dans une capitale africaine aujourd’hui--Aline Angelo-Milla et Soraya Milla

The series presents the experiences of living constantly between two cultures, experiences of multiculturalism. It recounts the everyday lives of black people residing in greater Paris and that of those in a contemporary African capital--Aline Angelo Milla et Soraya Milla

***

Afropolitaine est une web série humoristique de 10x4 minutes qui a pour ambition de mettre en lumière la culture Afro-française. L’intrigue tourne autour d’Yvoire, jeune femme afro-descendante âgée de 24 ans, et sa soeur cadette Janis , toutes deux en pleine construction identitaire. Leurs divergences d’opinion entraînent régulièrement des disputes qui ne manquent pas de sel, de piquant et plus encore. Des personnages attachants, des histoires amusantes bien que réflectives, pour tous ceux qui souhaitent découvrir l’afro-french touch.

***

Afropolitaine is a web-series focused on Afro-French culture. Afropolitaine tells the story of two Paris-based millennial sisters and their family dynamics.  Afropolitaine introduces the universe of Yvoire, a 24-year-old business student and her sister, Yanis, a 20-year-old budding activist. The show also features their feisty mother, Therese, a tough love mother whose traditionalist views on life are always challenged by her daughters antics.


Source:
Afropolitaine Facebook Page
Cinewax interview https://cinewax.org/blogs/media/afropolitaine-la-serie-100-afro-french-touch

27 January 2020

African Diasporas. L’afropolitaine - Le Podcast - An afropolitan woman’s meeting space

L’afropolitaine - Le Podcast
An afropolitan woman’s meeting space


https://www.youtube.com/@lafropolitaine


The afropolitan podcast, both visual and audio, is a French-language afropolitan woman’s meeting space.


Description

Afropolitaine is a concept born from a desire to create a space for free speech and reflection dedicated to black women and whose objective is to be INCLUSIVE.


Because each Afropolitan woman has a different journey that deserves to be heard, L'Afropolitane desires to be a sphere, open to all, where black women meet, exchange and inspire each other in an atmosphere of respect and kindness.


***


L’Afropolitaine est un concept né d'une volonté de créer un espace de libre-parole et de réflexion dédié aux femmes noires et qui se veut INCLUSIF.


Parce que chaque Afropolitaine a un parcours différent qui mérite d’être entendu, L’Afropolitaine se veut être une sphère, ouverte à tou.t.e.s., où les femmes noires se rencontrent, échangent et s’inspirent les unes des autres dans le respect et la bienveillance.

22 January 2019

African Diasporas. (Re)Discover: HSy.tv - La chaine fondé par Hapsatou Sy | The web television channel founded by Hapsatou Sy

(Re)Discover: HSy.tv - La chaine fondé par Hapsatou Sy
The web television channel founded by Hapsatou Sy

https://www.youtube.com/@hapsatousy
Image: hapsatousy youTube: screen shot

Founded in 2014 by Hapsatou Sy of Mauritanian-Senegalese parentage, the French-language television channel is eclectic in its content: life stories, reports, entertainment, interviews, testimonies on fashion, parenting, social issues, entrepreneurship. 

***

Vibrez pour des histoires passionnantes à travers un concept innovant Des histoires bouleversantes, des récits de vie hors-normes, des reportages sur des jeunes entrepreneurs, des marques révolutionnaires, bref, des émissions qui ont du sens : l’ADN de la chaîne s’inscrit dans une énergie positive et bienveillante. Vivez l’expérience HapsatouSy TV à 360° pour une immersion digitale maximale ! Et vous aussi, vous voulez partager avec nous votre histoire forte et puissante ? Vous avez un projet à défendre ? Un message inspirant à faire passer ? Ecrivez-nous @ https://hapsatousy.com/nous-contacter HapsatouSy TV, plus qu’une chaine, une philosophie.

HSy TV Une chaîne de télévision au contenu authentique ! Avez-vous déjà imaginé une chaine au contenu divertissant, intéressant et différent ? C'est chose faite avec HSy TV De la parentalité, des sujets de société, de l'entrepreneuriat... Vous allez adorer ! Rencontre avec une télévision nouvelle génération !

15 December 2018

African Diasporas. TV5Monde. Mariannes Noires: Mame-Fatou Niang, Kaytie Nielsen - Femmes noires et flamboyantes (Podcast)

TV5Monde. Mariannes Noires:
Mame-Fatou Niang, Kaytie Nielsen

 Femmes noires et flamboyantes - Podcast ci-après

Mariannes Noires - 2017 - 77min - Diaspora
Source: film-documentaire.fr

Recent violence and growing nationalism in France have brought fierce debates about the country’s identity to the forefront. In Mariannes noires, seven different French-born women of African descent confront their own unique identities and challenge the expectations of French society. In this documentary, they take us through their battles and retrace their most grueling paths in order to understand the social confines that have affected them professionally, psychologically, and emotionally. They share their ideas and solutions to France’s most daunting issues at the heavy intersection of racism and misogyny, and they bravely lead the way forward.

Elles sont artistes, entrepreneures, intellectuelles, et nous parlent de leur quotidien, de leurs aspirations et de leurs combats. Une chose ressort de ces entretiens : elles sont françaises. Naturellement. Sans questions. Pourtant, leur francité baigne, naît et s’épanouit dans des différences culturelles et esthétiques que la France a encore du mal à intégrer. Mariannes noires, ce sont sept récits qui s’enlacent et se font écho afin de lever le voile sur une histoire, celle d’une France multiculturelle qui n’est plus à imaginer, une France qui doute, hoquette et s’épanouit dans la vie de jeunes femmes aux parcours à la fois atypiques et ordinaires.

Diasporas : Mariannes Noires

  


Also see: Femmes noires et flamboyantes | Un podcast à soi (7) - ARTE Radio Podcast

09 July 2018

CINEF #4 2018 - Cinéma au féminin (Kinshasa) : Meduse, Cheveux Afro et Autres Mythes | Medusa, Afro hair and other myths by/de Adèle Albrespy, Johanna Makabi


Court Métrage – Short
Documentary | Documentaire
Meduse, Cheveux Afro et Autres Mythes
Medusa, Afro hair and other myths (2017)
by/de Adèle Albrespy, Johanna Makabi (France)


SYNOPSIS

[English] 

From Paris to Marseille, from London to Dakar, Adèle and Johanna film different types and techniques of hairdressing: braids—attached, plaited, bonding, or styles—weaving, straightening, natural. Through these encounters and conversations with people and hairdressers, as well from the stories of Romy, Cyn, Kami and Louise, Adèle and Johanna investigate the importance of treatment and maintenance of hair in the diverse African cultures. Hair, in fact, turns out to be more political than aesthetic...

[Français] 
De Paris à Marseille et de Londres à Dakar, Adèle et Johanna ont filmé différents types et techniques de coiffure : tresses collées, plates ou plaquées, tissage, défrisage, afro… C’est au détour de rencontres avec des passants ou coiffeurs ainsi qu’à travers les récits de Romy, Cyn, Kami et Louise, qu’elles s’interrogent sur l’importance du traitement et de l’entretien des cheveux dans les cultures africaines. Un sujet qui se révèle finalement plus politique qu’esthétique…

BIOGRAPHY | BIOGRAPHIE

[English] 
Johanna Makabi
Graduate of a Master of documentary cinema at Paris Diderot, and currently in Master of Anthropological Cinema and Documentary at the University of Nanterre, Johanna Makabi is destined to a career as a director. Johanna is also an ambassador and programmer for the Cinewax association, which promotes African cinemas in France and Senegal.  

Adèle Albrespy
Graduated with a degree in cinema at the University Paris 1 Panthéon Sorbonne and after a year at the Università di Roma Tre, Adèle Albrespy is currently in Master 2 at the University of Nanterre where she writes a dissertation on dance in the work of Pier Paolo Pasolini. She has directed several short films and edited for companies, notably for Les Cahiers du Cinéma and the CNC.

[Français]
Johanna Makabi
Diplomée d’un Master de cinéma documentaire à Paris Diderot, et actuellement en Master de cinéma anthropologique et documentaire à l'Université de Nanterre, Johanna Makabi se déstine à une carrière de réalisatrice. Johanna est également ambassadrice et programmatrice au sein de l’association Cinewax qui fait la promotion des cinémas africains en France et au Sénégal.

Adèle Albrespy 
Diplômée d’une licence de cinéma à l’Université Paris 1 Panthéon Sorbonne et après un an passé à l’Università di Roma Tre, Adèle Albrespy est actuellement en Master 2 à l’Université de Nanterre où elle écrit un mémoire sur la danse dans l’œuvre de Pier Paolo Pasolini. Elle a réalisé plusieurs courts-métrages et fait du montage pour des entreprises, notamment pour Les Cahiers du cinéma et le CNC.


04 October 2017

African Diasporas. Josza Anjembe : Le Bleu Blanc Rouge de mes cheveux | French - César 2018 Séléction officielle court métrage | Official Selection Short Film (France)

Le Bleu Blanc Rouge de mes cheveux | French
 de/by Josza Anjembe 
Séléction officielle court métrage
Official Selection Short Film
César 2018

Synopsis

[English]
Seyna, a seventeen-year-old Cameroonian adolescent, is passionate about the history of France, the country where she was born and which she loves very much. Having obtained her baccalaureate and approaching adulthood, Seyna has only one desire, to acquire French nationality. But her father Amidou is fiercely opposed to it.

[Français]
À dix-sept ans, Seyna, une adolescente camerounaise se passionne pour l'histoire de la France, le pays qui l'a vue naître et dont elle est profondément amoureuse. Son baccalauréat en poche et sa majorité approchant, Seyna n'aspire qu'à une chose : acquérir la nationalité française. Mais son père Amidou s'y oppose farouchement.

Les 24 films de la Sélection Officielle Court Métrage César 2018:

1992 de/by Anthony Doncque
A Brief History of Princess X de/by Gabriel Abrantes
Blind Sex de/by Sarah Santamaria-Mertens
Debout Kinshasa ! de/by Sébastien Maitre
Et toujours nous marcherons de/by Jonathan Millet
Féfé Limbé de/by Julien Silloray
Goliath de/by Loïc Barché
Goût Bacon de/by Emma Benestan
Guillaume à la dérive de/by Sylvain Dieuaide
Je les aime tous de/by Guillaume Kozakiewiez
La convention de genève de/by Benoît Martin
La laine sur le dos de/by Lotfi Achour
e bleu blanc rouge de mes cheveux de/by Josza Anjembre
Le film de l’été de/by Emmanuel Marre
Le silence de/by Ali Asgari et Farnoosh Samadi
Les bigorneaux de/by Alice Vial
Les enfants partent à l’aube de/by Manon Coubia 
Les misérables de/by Ladj Ly
Mare nostrum de/by Rana Kazkaz et Anas Khalaf
Marlon de/by Jessica Palud
Noyade interdite de/by Mélanie Laleu
Panthéon discount de/by Stéphan Castang
Pas comme des loup de/by Vincent Pouplard
Tangente de/by Julie Jouve et Rida Belghiat



20 May 2017

African Diasporas. Claire Diao : Double Vague, le nouveau soufflé du cinéma français (Double wave, the new energy of French cinema) 2017

Claire Diao : Double Vague, le nouveau soufflé du cinéma français (Double wave, the new energy of French cinema) 2017


L’attribution de la Caméra d’or à Houda Benyamina en 2016 pour Divines a braqué les projecteurs sur ces réalisateurs de double culture grandis dans les quartiers populaires, souvent autodidactes et déjà auréolés de prix internationaux. Pour en finir avec les clichés sur « le cinéma de banlieue », plus de cinquante réalisateurs parmi lesquels Alice Diop, Maïmouna Doucouré, Rachid Djaïdani, Djinn Carrenard, Franck Gastambide, Jean-Pascal Zadi… s’expriment ici. Une génération montante qui, affranchie de la Nouvelle Vague, incarne un nouveau souffle du cinéma français, audacieux, réaliste et surtout très divers. Riche d’une centaine d’heures d’interviews, cette enquête journalistique conduite sur dix ans leur donne enfin la parole.

The 2016 Caméra d’or Award for the film Divines by Houda Benyamina has put the spotlight on those bi-cultural filmmakers who grew up in working-class neighbourhoods, often autodidact and already crowned with international prizes. Putting an end to the clichés of "the cinema of the banlieue" (housing estates, immigrant neighbourhoods), more than fifty directors express themselves, including Alice Diop, Maïmouna Doucouré, Rachid Djaïdani, Djinn Carrenard, Franck Gastambide, Jean-Pascal Zadi. An up-and-coming generation, liberated from the New Wave, represents a new energy of French cinema: audacious, realist and above all very diverse. With a hundred hours of interviews, this ten-year journalistic exploration gives them, finally, a voice.


Claire Diao ©FIFF/Yoann Corthésy

Claire Diao est une journaliste et critique de cinéma franco-burkinabè, à l’initiative du programme Quartiers Lointains, la revue Awotélé et la société Sudu Connexion.

Claire Diao is a Franco-Burkinabe journalist and film critic, at the forefront of several initiatives: the Quartiers Lointains programme, the journal Awotele and Sudu Connexion.




Links | Liens



28 February 2017

Luxor African Film Festival 2017: Zin’naariya ! | The Wedding Ring | L’Alliance d’or by/de Rahmatou Keïta (Niger)

Luxor African Film Festival 2017
Zin’naariya ! | The Wedding Ring | L’Alliance d’or by/de Rahmatou Keïta (Niger)


FEATURE FICTION | LONG METRAGE


Synopsis:

[English]
The Wedding Ring – (Source: IFFR
The Wedding Ring (screen shot)
Tiyaa, a beautiful young woman from an aristocratic family, returns after a study in Paris to her place of birth, the Sultanate of Zinder in Niger. Her girlfriends and aunts soon notice that a shadow of sorrow hangs over her. She had to leave her lover behind in Paris and she is at a loose end back home. During a consultation with a zimma, a wise old man, she is advised to wait for the new moon to perform a love ritual.

Until that time, she roams the community having conversations with women of all ages, who offer her an insight into their love life and sensuality, taboos and culturally-defined codes, with a dash of mysticism.


[Français]
L’Alliance d’or (Source: Africultures
Tiyaa est récemment de retour chez elle, dans le Sultanat de Zinder, après avoir fini ses études. La jeune femme essaie de surmonter le souvenir d’une histoire d’amour douloureuse. La promesse mystique d’un prince charmant souffle vers sa direction.


10 January 2017

African Diasporas. Vers la tendresse | Towards tenderness by/de Alice Diop : César 2017 - Selection officielle court métrage | Official Selection Short Film (France)

 Vers la tendresse | Towards tenderness by/de Alice Diop :
César 2017
Selection officielle court métrage
Official Selection Short Film
(France)


Alice Diop:

"Towards tenderness - four young men speaking freely, locked in their sexual and romantic representations or on the verge of getting out of it."

"Au cours d'un atelier sur le thème de l'amour, j'ai rencontré quatre jeunes hommes tous originaires de Seine Saint-Denis. J'ai enregistré nos conversations. J'ai eu envie de faire de ces voix un film."


26 December 2016

African Diasporas. “Maman(s)” by/de Maïmouna Doucouré : César 2017 Selection officielle court métrage | Official Selection Short Film (France)

 “Maman(s)” by/de Maïmouna Doucouré :
César 2017
Selection officielle court métrage
Official Selection Short Film
(France)


Synopsis

[English]
Eight-year-old Aida lives in an apartment in a suburb of Paris. The day her father returns from his trip to Senegal, their country of origin, the daily life of Aida and the whole family is totally disrupted: the father did not return alone, he was accompanied by a young Senegalese woman, Rama, who he presents as his second wife. Aida, sensitive to her mother’s suffering, decides to get rid of the newcomer.

[Français]
Aida, huit ans, habite un appartement de banlieue parisienne. Le jour où son père rentre de son voyage au Sénégal, leur pays d'origine, le quotidien d'Aida et de toute la famille est complètement bouleversé : le père n'est pas revenu seul, il est accompagné d'une jeune sénégalaise, Rama, qu'il présente comme sa seconde femme. Aida, sensible au désarroi de sa mère, décide alors de se débarrasser de la nouvelle venue.


07 December 2016

African Diasporas. Amandine Gay - To be a black woman in France has its specific issues | Etre une femme noire en France, c’est un enjeu spécifique - Ouvrir La Voix [Speak Up/Make Your Way] (Le Monde)

Film : Amandine Gay - To be a black woman in France has its specific issues | Etre une femme noire en France, c’est un enjeu spécifique - Ouvrir La Voix [Speak Up/Make Your Way] (Le Monde)

Source : Lemonde.fr 

[English]
In Ouvrir La Voix [Speak Up/Make Your Way], researcher and documentarist Amandine Gay gives voice to the black women in France and Belgium. At the intersection of discrimination practices resulting from their gender and colour, these women denounce the racism, sexism and misogyny to which they are subjected on a daily basis. These testimonies, not often heard in public space, highlight the difficulties specific to black women in a white world.

The documentary will be screened beginning 8 December, in several theatres in France, Switzerland and Belgium.





[Français]
Dans Ouvrir la voix, la chercheuse et documentariste Amandine Gay donne la parole à des femmes noires en France et en Belgique. A l’intersection de discriminations liées à leur sexe et à leur couleur, ces femmes dénoncent le racisme, le sexisme et la misogynie subis au quotidien. Des témoignages rares dans l’espace public et qui mettent en lumière les difficultés propres aux femmes noires dans un monde blanc.

Le documentaire sera projeté dans plusieurs salles en France, en Suisse et en Belgique à partir du 8 décembre.

Amandine Gay veut donner une voix aux femmes noires
 

Etre une femme noire en France, c’est un enjeu spécifique


Podcast: series: Amadine Gay, Se réapproprier la narration

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