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Showing posts with label Maimouna Ndiaye. Show all posts
Showing posts with label Maimouna Ndiaye. Show all posts

31 December 2020

Recent Films. Maimouna N'Diaye: Madjigui

Maimouna N'Diaye

Madjigui
Burkina Faso - 2020 - 18:27

En français : Voaafrique
https://www.voaafrique.com/a/madjigui-%C3%A0-la-conqu%C3%AAte-de-dakar-court-/5696067.html

In an interview with Yacouba Ouedraogo for the Festival Dakar Court, where the film is in competition, Maimouna N'Diaye has this to say:

Madjigui is a term in Dioula, a language spoken in several Western African countries, Mali, Senegal, Guinea, Cote d'Ivoire, among others, it is the commercial language of West Africa. It means catch your heart, calm down, be still. Do not go in the direction of violence. The film is a form of resilience, in fact. It is about the resilience of a woman. I wanted to show the force, the power of women, who do the heavy lifting, who carry the weight of the household, who get things moving. Everything depends on women. She is the pillar of the household, everything evolves around her. That is what I wanted to present.

Synopsis:

Amina, business manager, is a dynamic and modern woman. Married to August, a geologist, for the past fifteen years, they live happily together with their children. While on a mission, August's car is caught in an ambush, he is hospitalized in a coma. To save his life he must undergo an amputation, a decision left to Amina to make. At the hospital Amina discovers that August has a double life. She is in shock, will she save the father of her children? (Source: courtderriere.re - translated from French)

Amina, femme dynamique et moderne, Business Manager est mariée à August un géologue depuis 15 ans. Ils vivent heureux avec leurs enfants. Au cours d’une mission, le véhicule d’August est pris en embuscade. Il se retrouve à l’hôpital dans le coma. Pour le sauver, il doit être amputé et cette décision revient à Amina, sa femme. Amina découvre à l’hôpital qu’August a une double vie. Elle est sous le choc. Va-t-elle sauver le père de ses enfants? (Source: courtderriere.re)

Image: http://www.courtderriere.re/maimouna-ndiaye/

 

10 December 2019

Maïmouna Doucouré: « Mignonnes » selected at | sélectionné à Sundance 2020

Maïmouna Doucouré: « Mignonnes »
selected at | sélectionné à
Sundance 2020

SYNOPSIS
English
Eleven-year-old pre-teen Amy discovers in her new elementary school a group of dancers called: “Les Mignonnes”. Fascinated, she begins a sexy dance, the twerk, hoping to join their band and escape a family upheaval.

Français
Amy, 11 ans, rencontre un groupe de danseuses appelé : « Les Mignonnes ». Fascinée, elle s’initie à une danse sensuelle, dans l’espoir d’intégrer leur bande et de fuir un bouleversement familial.


BIO
English
Maïmouna Doucouré won the Global Filmmaking Award at the Sundance Film Festival in 2017 for the screenplay of her first feature Mignonnes, and Maman(s) – claimed the Grand Jury Prize in 2015. 

Français
Maïmouna Doucouré revient à Sundance après un Prix du Jury en 2016 pour son court métrage Maman(s), puis le Global Filmmaking Award, en 2017, pour le scénario de Mignonnes, son premier long métrage.

22 May 2019

Cannes 2019: Maïmouna N'Diaye, member of the jury | membre du jury: interview/entretien by/par Falila Gbadamassi (AfriqueFrance Télévisions)

Cannes 2019: Maïmouna N'Diaye
member of the jury | membre du jury interview/entretien by/par Falila Gbadamassi (AfriqueFrance Télévisions)

Translated excerpts from interview in French by Falila Gbadamassi. AfriqueFrance Télévisions. 13 05 2019


Choice of pursuing a career in Africa rather than Europe:

I admit that I was very lucky. I grew up in Africa, studied in Europe and then came back to the continent. It is indeed a choice, because at one point in my career in Europe, I felt that I had more to gain by working in Africa and I wanted to do things from the continent. It seemed obvious to me.

When I finished my studies, I worked in TV series and feature films in France. And then, there was an off-peak and rather than waiting for roles that did not come, I thought it would be better to collaborate with directors on the continent. And to avoid having to wait between films and because I like to be active, I embarked on the production of documentaries. I have roles in the theatre, in TV series and in the cinema. I am always on the move, because I need it. In addition, if the film industry is to develop, African filmmakers must be allowed to work on location with us.


As ambassador of Fespaco in 2019: Its evolution at the 50th anniversary

There are many things that have changed and others not so much. This year, I had the great honour of being the image of the fiftieth anniversary of Fespaco (Pan-African Festival of Film and Television). This was a privilege for several reasons: First, it is a pan-African festival, my diverse background and my cultural identities echo this [born in Paris of a Senegalese father and a Nigerien mother, grew up in Guinea, lived in France, Côte d’Ivoire and Senegal before settling in Burkina Faso]. So I feel that I am at home in all of these places, and am very comfortable. I am international, pan-African and of African descent. I do not see my colour, but I know my cultures. Then, L’Œil du cyclone | The Eye of the Hurricane (2015) and the 12 awards that I received worldwide, and the film itself which received 80, certainly played an important part.

I think that the place of women in our African cinemas has evolved a great deal. They are more and more present in films, even if their roles remain stereotypes, whereas there are other characters to embody. On the technical side, the situation has also changed. It started with women directors, women cinematographers, sound and lighting engineers… They have pushed to be recognised and have asserted themselves in this environment of men. The advent of digital technology has helped to facilitate access to women. They are not only makeup artists, scriptwriters or editors. At this level, the situation has really evolved and it is a pleasure.

…at the level of productions, [African] filmmakers sometimes lack imagination or they do not want to take the time to unleash their imagination. I think that cinema has to make you dream, reflect and, why not, change mentalities or give another point of view. However, I find that we are still too close to what people live on a daily basis. I am a documentary filmmaker, so I will not criticize such an approach. Simply, I think that fiction must go beyond this.

Africans do not always want to see their reality in film, they want to be projected into another reality. People, young people especially, go to see foreign films because, in fact, they allow them to dream, they are taken elsewhere. Our cinema needs to get there. Our films must be seen in Africa and beyond, like all other productions. We have to make films, period! Even if we talk about African cinema, which is often classified as such, ultimately, a good film is a good film. We have to get there and we will succeed. The youth is on the way!


The regional disparity between Maghreb cinema/English-speaking countries and francophone regions in West and Central Africa

We need to understand in the francophone region that cinema is a real industry and that we must put in place genuine cultural policies so that cinema is funded at the level that it merits. Our policies must recognise that cinema pays. It is an idea that does not seem to get through.

Shooting a film involves setting up teams of women and men who, through their work, can support their families. I think that investing in cinema prevents us from having to sacrifice the education of young girls for the benefit of boys. To fund girls' education is to see what they are capable of! As long as cinema is only considered entertainment, we will not get there.

13 May 2019

Cannes 2019 : African Women at Cannes | La présence africaine au féminin

Cannes 2019 :
African Women at Cannes
La présence africaine au féminin


Jury Longs-metrages | Features
Maïmouna N’Diaye: Franco-guinéenne actrice et réalisatrice | French-Guinean actress and filmmaker
https://www.festival-cannes.com/fr/festival/artiste/maimouna-n-diaye

Jury Caméra d'Or
Alice Diop: Franco-sénégalaise réalisatrice |
Franco-Senegalese filmmaker
https://www.festival-cannes.com/fr/festival/artiste/alice-diop

Semaine de la critique
Djia Mambu: Belgo-congolaise journaliste et critic du cinéma | Belgian-Congolese journalist at film critic https://www.semainedelacritique.com/fr/jury


SELECTION OFFICIELLE | OFFICIAL SELECTION

Competition Longs-métrages | Features
Mati Diop (France|Senegal) Atlantique, 2019. 104 min.
https://www.festival-cannes.com/fr/festival/films/atlantique

Un certain regard
Mounia Meddour (Algérie|Algeria) Papicha, 2019. 106 min.
https://www.festival-cannes.com/fr/festival/films/papicha

Monia Chokri (Canada-Tunisia) La Femme de mon frère, 2019. 117 min
https://www.festival-cannes.com/fr/festival/films/la-femme-de-mon-frere 

Maryam Touzani (Maroc|Morocco) Adam, 2019. 98 min.
https://www.festival-cannes.com/fr/festival/films/adam-1


SEMAINE DE LA CRITIQUE

Competition - Shorts | Courts métrages 
Nada Riyadh (Egypte) Fakh, 2019. 20 min.
https://www.semainedelacritique.com/fr/edition/2019/film/fakh

Comité de séléction | Selection Committee :
Clémentine Dramani-Issifou : Franco-Beninoise chercheuse et curatrice indépendante de films | French-Beninese researcher and independent film curator ) https://www.semainedelacritique.com/fr/comite-de-selection

Séance Spéciale - Longs métrages | Features
Hafsia Herzi (Tunisia-Algeria-France) Tu mérites un amour (You Deserve a Lover), 2019. 102 min.
https://www.semainedelacritique.com/fr/edition/2019/film/tu-merites-un-amour


LES CINEMAS DU MONDE: LA FABRIQUE

Kantarama Gahigiri is a Rwandan-Swiss filmmaker. Her first feature film Tapis Rouge has received awards worldwide, including TV5Monde Best Picture, followed by a theatrical release in France in May 2017. She is now developing Tanzanite, an Afrofuturistic thriller that takes place in colorful Nairobi, and she participated in Realness, an African screenwriters’ residency, with the film.


QUINZAINE DES REALISATEURS | DIRECTOR'S FORTNIGHT

Comité de séléction | Selection Committee :
Claire Diao : Franco-Burkinabé journaliste et critic du cinéma | French-Burkinabé journalist and film critic

***

IEFTA in partnership with the Marché du Film 
IEFTA en partenariat avec le Marché du film
Marwa ZeinSudanese director-producer, is among the seven young filmmakers attending the festival | La cinéaste-productrice soudanaise fait partie des sept jeunes cinéastes assistants au festival.

IEFTA (International Emerging Film Talent Association) once again partners with the renowned Marché du Film at the 72nd Cannes Film Festival to offer seven young filmmakers the opportunity to attend the festival, participate in career-changing Industry Workshops, develop their projects, build their networks and raise their ambitions.

L’IEFTA (International Emerging Film Talent Association) s'associe à nouveau au célèbre Marché du Film lors du 72ème Festival de Cannes pour offrir à sept jeunes réalisateurs la possibilité de assister au festival, de participer à des ateliers de réorientation professionnel, de développer leurs projets, de  construire leurs réseaux et réaliser leurs ambitions.
https://www.iefta.org/seven-filmmakers-to-attend-cannes-2019/

LINKS FROM THE AFRICAN WOMEN IN CINEMA BLOG:

Cannes 2019: Mati Diop receives/reçoit le Grand Prix
https://africanwomenincinema.blogspot.com/2019/05/cannes-2019-mati-diop-receivesrecoit-le.html

Cannes 2019: Maïmouna N'Diaye, member of the jury | membre du jury: interview/entretien by/par Falila Gbadamassi (AfriqueFrance Télévisions)
https://africanwomenincinema.blogspot.com/2019/05/cannes-2019-maimouna-ndiaye-member-of.html

Mati Diop: "It was very important for me to dedicate a film to this ghost generation" | "C'était très important pour moi de dédier un film à cette génération fantôme". Interview/Entretien by/par Falila Gbadamassi (Africine, Cannes 2019)
https://africanwomenincinema.blogspot.com/2019/05/mati-diop-it-was-very-important-for-me.html

"Papicha: Mounia Meddour in resistance mode" | "Papicha : Mounia Meddour en mode résistance" analysis/analyse by/par Falila Gbadamassi (Africine)
https://africanwomenincinema.blogspot.com/2019/05/papicha-mounia-meddour-in-resistance.html

Djia Mambu, journalist and film critic | journaliste et critique de cinéma (Cannes 2019)
https://africanwomenincinema.blogspot.com/2019/05/djia-mambu-journalist-and-film-critic.html

Cannes 2019: Maryam Touzani's "Adam" (Morocco)
https://africanwomenincinema.blogspot.com/2019/05/cannes-2019-maryam-touzanis-adam-morocco.html

Mati Diop’s "Atlantique" – In the foam of the "Atlantic” | Dans l'écume de l' "Atlantique" analysis/analyse by/par Falila Gbadamassi (Africine)
https://africanwomenincinema.blogspot.com/2019/05/mati-diops-atlantique-in-foam-of.html

Mati Diop : Atlantique (Cannes 2019)

20 February 2019

FESPACO 2019: Le fou, le génie et le sage (The crazy, the genius, the sage) by/de Maïmouna Ndiaye (Burkina Faso)

FESPACO 2019
Le fou, le génie et le sage (2018) 78 min
(The crazy, the genius, the sage)
by/de Maïmouna Ndiaye (Burkina Faso)

Official Selection | Sélection officielle
Hors | Out of Competition
Panorama


Description

Since 2009, the director, Maïmouna Ndiaye has gone to meet those who are never filmed in Africa, those who we are afraid or ashamed of, those who are called "crazy". Often helpless in the face of the disease, their families seek in any and all methods--modern, traditional or religious—a hypothetical cure. The camera follows them in their desperate quest, questioning every practitioner whether they are healers, doctors, pastors or imams. From this experience nobody really comes out intact...

Depuis 2009, la réalisatrice est allée à la rencontre de ceux que l’on ne filme jamais en Afrique, ceux dont on a peur ou honte, ceux qu’on appelle les "fous". Souvent impuissantes face à la maladie, leurs familles cherchent dans toutes les méthodes modernes, traditionnelles ou religieuses une hypothétique guérison. La caméra les suit dans leur quête désespérée, interrogeant tous les praticiens qu’ils soient guérisseurs, médecins, pasteurs ou imams. De cette expérience personne ne ressort vraiment indemne…

Source: http://www.spla.pro/file.film.fou-le-genie-et-le-sage-le.19953.html

Biography | Biographie

Maïmouna N'Diaye is at the same time actor of the screen and theatre, and documentary author-filmmaker. In addition to Pauline, l'amour en action, she has director four other documentaries: Warbassanga (1998), Balan (2004), Récréatale (2003), Amando (2004), and Tranches de vies (2009). Her role as actress has taken her to Senegal, Guinea and Burkina Faso.

Maïmouna N'Diaye est à la fois comédienne de théâtre et de cinéma, auteure-réalisatrice de films documentaire. Outre "Pauline, l'amour en action", elle a réalisé quatre autres documentaires :"Warbassaga" (1998) "Balan" (2004), "Recréatales (2003), "Amando" (2003) et "Tranches de vies" (2009). Comme actrice de cinéma, elle a tourné au Sénégal, en Guinée, au Burkina Faso.

Source: Africine.org
Image: fasoamazone.net

09 April 2015

Rencontres Sobaté 2015 : Documentary cinema and collective memory | Cinéma documentaire et mémoire collective - Burkina Faso


The Association of Documentarists of Burkina Faso organises the 6th Edition of Sobaté “Encounters” from 9 to 11 April 2015

L’Association des documentaristes du Burkina Faso organise
La 6ème Édition des Rencontres Sobaté du 9 au 11 avril 2015 


Theme : Documentary cinema and collective memory
Thème : Cinéma documentaire et mémoire collective


Screenings followed by discussions
Projections suivies de débats


Professional training “A script, a film”
Formation professionnelle « Un scénario, un film »





Thursday 9 April | Jeudi 9 avril

18h00 Opening ceremony | Cérémonie d’ouverture

18h30 Koukan Kroukia 2, Les Médiatrices
El Hadj Sani Maggori / 90 Min / 2013 / Niger

20h30 Ma mort ne m’appartient pas (My death doesn’t belong to me)
Charles Koutou / 50 Min / 2014 / Burkina Faso


Friday 10 April | Vendredi 10 avril

18h30 Afrique en vues | African views

Through this collection of documentary films, the makers explore a  cross-section of themes of contemporary Africa.

À travers cette collection de films documentaires, les auteurs explorent des thèmes qui traversent l’Afrique contemporaine.

* Makala ou beignets (Makala or fritters)
Rosalie Gladys Bessini / 26 Min / 2015 / Cameroon | Cameroun

* Circulation ya yélé
Kisw Wendsida Parfait Kabore / 26 Min / 2014 / Burkina Faso

* Nanas Benz, les reines du textile africain (Nanas Benz, the queens of African textiles)
Joel M’maka Tchedre / 26 Min / 2014 / Togo

* Avizinli, « Tam-tam de la mort (Avizinli, the drum beats of death)
Évelyne Agli / 26 Min / 2013 / Bénin

20h30
Sans famille (Without family)
Pauline Mvélé / 52 Min / 2013 / Gabon

C’est possible (It’s possible)
Amina Weira / 26 Min / 2013 / Sénégal



Saturday 11 April | Samedi 11 avril

18h30
Collection « Un scénario, un film »

Preceding the festival, the Embassy of France and the French Institute, in partnership with four production companies, offered a training workshop "A script, a film" to four young filmmakers. Excerpts from their short film will be screened at the festival's closing. And also…

En amont du festival, l’Ambassade de France et l’Institut français, en partenariat avec 4 sociétés de production, ont proposé un atelier de formation « Un scénario, un film » à 4 jeunes cinéastes. Des extraits de leur court métrage seront projetés en clôture du festival. Et aussi...

Parle avec eux (Speak to them)
Maimouna N’Diaye / 42 Min / 2014 / Burkina Faso

N’gonifo sekouba ou l’esprit des chasseurs (N’gonifo sekouba or the spirit of the hunters)
Moumouni «le chat» Sanou / 52 Min / 2014 / Mali

20h30
La souffrance est une école de sagesse | Suffering is a school of wisdom
Ariane Astrid Atodji / 72 Min / 2012 / Bénin


11 March 2015

MAIMOUNA NDIAYE : Appel à financement pour le film « Parle avec eux, maladie mentale en Afrique de l'Ouest » | Crowdfunding for the film “Talk with them, mental illness in West Africa”


Maïmouna N'Diaye launches a crowfunding campaign on Kisskissbankbank for the film “Talk with them, mental illness in West Africa” 

Support a documentary film about mental illness in West Africa!


Maïmouna N'Diaye lance une campagne de crowdfunding sur Kisskissbankbank pour the film « Parle avec eux, maladie mentale en Afrique de l'Ouest  »

Soutenez un film documentaire sur la maladie mentale en Afrique de l'Ouest ! 


SOURCE : Kisskissbankbank





[ENGLISH]

THE PROJECT

If people with mental illness can be a danger to society, ignorance and marginalisation contribute to reinforcing the illness and hence this threat. It is for this reason they should not be left behind. Moreover, once abandoned to their fate, they become vulnerable to a variety of ills: insecurity, diseases due to their poor living conditions, verbal violence and even more serious, the rape of women and young girls, torture and ritual crimes.
  
Based on this observation, filmmaker Maïmouna N'Diaye sought to learn more about these illnesses, deeply anchored in Burkinabè society but too often misunderstood and misinterpreted. She reached out to the mentally ill, following them in their daily life—during good and bad times—to understand their existence.

Through her encounters with physicians, traditional therapists, and clergy, she also addressed the question of the origins and the healing of mental illness.

Divided into three parts, the 42-minute documentary takes us to the heart of a "malaise" of Burkinabè society in particular, and Africa in general.

Through these testimonies and touching portraits, the documentary aims to challenge and inform viewers about the realities of mental illness.

During the making of the documentary, the reconciliation between the patients and the filmmaker evolved into a genuine therapy, allowing some of them to improve in their relationships with others and to take better care of themselves. As the title indicates, “Speak to them” "Sonse ne ba" in Mooré the regional language, the documentary aims especially to sensitise the viewers in order to prevent marginalisation and to demonstrate that social cohesion is a key factor in healing.

WHY FUND IT?

After four years of meetings and discussions with patients, their families, and caregivers, the film is in postproduction. The shooting phase is complete as well as the editing.

The crowdfunding, which corresponds to 7% of the total budget, will:

1) Finalize the film

Audio mastering and subtitling are left to be done.

2) Screening of the film in Burkina Faso

At the launching of the documentary a series of events will be organised: meetings between healthcare professionals and the public, the release of the film in theatres and neighbourhoods centres, schools and universities in Ouagadougou and Bobo-Dioulasso; and a group exhibition featuring the works of eight West African artists on the theme of madness.

BIOGRAPHY

Filmmaker (Burkina Faso, Côte d'Ivoire, Guinea, Senegal) Maïmouna N'Diaye was born in France but grew up in Guinea. She returned to France at the age of 18, where during the same time as her studies she became a film actress, television presenter and documentary filmmaker.

[FRANÇAIS]


LE PROJET 

Si les personnes atteintes de maladies mentales peuvent constituer un danger pour la société, l’ignorance et la marginalisation contribuent à renforcer la maladie et donc le danger, c’est aussi pourquoi il ne faut pas les laisser pour compte. De plus, une fois abandonnés à leur sort, ils deviennent vulnérables à toutes sortes de maux: l’insécurité, les maladies dues à leur mauvaise condition de vie, les violences verbales et plus grave encore le viol des femmes et des jeunes filles, la torture et les crimes rituels.
  
Partant de ce constat, la réalisatrice Maïmouna N’Diaye, a cherché à en savoir plus sur ces maladies profondément ancrées dans la société burkinabè mais trop souvent incomprises et mal interprétées. Pour ce faire, elle a approché des malades mentaux qu’elle a suivis dans leur quotidien, dans les bons comme dans les mauvais moments afin de comprendre leur mode de vie.

À travers ses rencontres avec des médecins, des tradi-thérapeutes, et religieux, la réalisatrice s’est aussi penchée sur la question de l’origine et celle de la guérison de la maladie mentale. 

Découpé en 3 actes ce documentaire de 42 minutes nous emmène au cœur d’un « mal » de la société burkinabè en particulier et Africaine en général.

À travers ces témoignages et portraits attachants, le documentaire cherche à interpeller et informer les spectateurs sur les réalités de la maladie mentale.

Au cours de la réalisation du documentaire, le rapprochement entre les malades et la réalisatrice a agi sur eux comme une véritable thérapie et a permis à certain d’entre eux d’aller mieux dans leurs relations avec les autres et de prendre plus soin d’eux-mêmes. Comme l’indique donc son titre "Parle avec eux", "Sonse-ne-ba" en mooré, la langue régionale, le documentaire espère surtout conscientiser les spectateurs afin d’empêcher la marginalisation et démontrer que la cohésion sociale est un facteur clef de la guérison.

POURQUOI LE FINANCER ?

Après 4 ans de rencontres et d’échanges avec des malades, leurs familles, les soignants, le film est en post production. La phase de tournage est achevée et le film monté.

La collecte, correspondant à 7% du budget total permettra de :

1) Finaliser le film

Il manque encore quelques retouches sonores et la mise en place des sous-titres.

2) Diffusion du film au Burkina Faso

Lors du lancement du documentaire sera organisée une série d'évènements : rencontres entre des professionnels de la santé et le public, diffusion du film dans des salles de cinéma et des quartiers, écoles et universités de Ouagadougou et Bobo-Dioulasso, ainsi qu'une exposition collective proposant une vision plastique de 8 artistes d'Afrique de l'Ouest sur le thème de la folie.

BIOGRAPHIE 

Réalisatrice (Burkina Faso, Côte d'Ivoire, Guinée, Sénégal) Maïmouna N’Diaye est née en France mais a grandi en Guinée. Elle retourne en France à l’âge de 18 ans où parallèlement à ses études elle devient actrice du cinéma et à la télévision, présentatrice et réalisatrice de documentaires. 

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