The purpose of the African Women in Cinema Blog is to provide a space to discuss diverse topics relating to African women in cinema--filmmakers, actors, producers, and all film professionals. The blog is a public forum of the Centre for the Study and Research of African Women in Cinema.
Le Blog sur les femmes africaines dans le cinéma est un espace pour l'échange d'informations concernant les réalisatrices, comédiennes, productrices, critiques et toutes professionnelles dans ce domaine. Ceci sert de forum public du Centre pour l'étude et la recherche des femmes africaines dans le cinémas.
Director/Directrice, Centre for the Study and Research of African Women in Cinema | Centre pour l'étude et la recherche des femmes africaines dans le cinéma
Alors que se déroule le 15e Sommet de la Francophonie à Dakar du 29 au 30 novembre 2014, 11 cinéastes africaines se lèvent pour réclamer haut et fort au président Abdou Diouf, actuel secrétaire général de l'Organisation internationale de la Francophonie (OIF), de soutenir de manière "effective" le "cinema panafricain et francophone" par le biais de l'institution, maîtresse de la francophonie.
Quand on sait que le "Centre de Conférence de Diamniadio", qui accueille le sommet, a coûté 77 748 998 euros (51 milliards de FCFA) et que rien n'est envisagé pour son avenir, pas même une grande école du cinéma...
La note aux journalistes met à jour le rôle des médias, petits et grands, à faire vivre cette interpellation, pour que remonte au Président l'impatience argumentée et légitime de ces 11 femmes jusqu'à ce qu'il réponde.
Aucune transparence dans les fonds destinés au Cinéma pour les rares exceptions où ces fonds existent, un désintérêt total de nos gouvernements pour la Culture et plus exactement le Cinéma. Ici au Sénégal, l’état nous a promis il y a deux ans un fond pour le Cinéma, depuis nous avons eu trois Ministres de la Culture qui se sont succédés et aucune information, aucun calendrier sur ce fond pour lequel les appels ont été fait depuis novembre 2013.
Nous sommes 11 cinéastes africaines à avoir co-signé cette longue lettre de 7 pages, que nous avons adressé au Président Abdou Diouf, en qualité de secrétaire de l'Organisation Internationale de la Francophonie (O.I.F).
Bien-entendu, celui-ci, n'a pas daigné encore nous répondre... Peut être se réserve t-il pour le dernier jour du Sommet ?!
Quoiqu’il en soit avec les collègues, nous avons décidé de l'envoyer à la presse.
Après avoir essayé des versions courtes, qui n'ont pas convaincu, nous avons décidé de la laisser tel quelle car elle parle de la réalisation, production, formation, distribution et financement, des problèmes et solutions, avec comme question de fond: ou en est le fond Panafricain d'aide au Cinéma ? Et est ce que le fond d'aide au cinéma de l'OIF va disparaitre comme c'est le cas depuis deux ans où il n'y a pas eu d'appel à projet...
En sachant que si ce fond disparait, c'est juste catastrophique, car cela voudra dire en qualité de réalisateur et producteur africain francophone, nous n'aurions plus de guichet de financement.
Par ailleurs c'est aussi la première fois que 11 femmes cinéastes du continent mènent une action collective.
Nous souhaiterions la publier, en sachant pleinement, qu'elle risque d'être écourté par vos rédactions.
Rama THIAW (Sénégal), Angèle DIABANG, Mariama SYLLA et Marie KA (Sénégal), Nadège BATOU (Congo Brazzaville), Samora SEKHUKHUN (Afrique du Sud), Laurentine BAYALA (Burkina-Faso), Siam MARLEY (Côte d’Ivoire), Pauline MVELE (Gabon), Ifrikia KENGUE (Journaliste - Congo Brazzaville), Ariane Astrid ATODJI (Cameroun) IN ENGLISH
As the 15th Francophone Summit unfolded in Dakar from 29 to 30 November 2014, 11 African women filmmakers rose to voice their demand to President Abdou Diouf, current Secretary General of the International Francophone Organisation (OIF), to give support in an "effective" way, to "Pan-African and French cinema", using the strength of the organisation as vehicle for this action.
It is known that the "Diamniadio Conference Centre", which hosts the summit, cost 77,748,998 euros (51 billion FCFA) and nothing is planned for it in the future, not even a major film school.
This memorandum to journalists underscores the vital role of the media, large and small, to spread this urgent call, so that the President is aware that until he responds, the well-founded and legitimate impatience of these 11 women will remain.
There is no transparency regarding funding for Cinema, in the rare exceptions where such funds exist. There is a total disinterest of our governments for Culture and more particularly for Cinema. Here in Senegal, two years ago the state promised us funding for Cinema, since then we have had three successive Ministers of Culture with no information, no timetable regarding this funding, for which inquiries have been made since November 2013.
We are 11 African women filmmakers who have co-signed a long 7-page letter addressed to President Abdou Diouf, who serves as secretary of the International Francophone Organisation (OIF).
Well of course, he has not yet agreed to meet with us ... Perhaps he is waiting for the last day of the Summit?
In any event, we have decided to send it to the press.
After attempting to write shorter versions, which were less persuasive, we decided to leave it as is, because it speaks of the problems and solutions regarding directing, production, training, distribution and financing; with the fundamental question: where is the Pan-African Aid for Cinema Fund? And will the OIF funding for cinema simply disappear as has been the case for the past two years, during which there have not been any Calls for Projects…
Knowing that if the funding disappears, it will be simply devastating, because it will mean that as Francophone African filmmakers and producers, we will no longer have a financing source.
Moreover, it is also the first time that 11 women filmmakers from the continent are taking collective action.
We would like to publish it, knowing fully well that it may be shortened.
Rama THIAW (Senegal), Angèle DIABANG, Mariama SYLLA et Marie KA (Senegal), Nadège BATOU (Congo Brazzaville), Samora SEKHUKHUN (South Africa), Laurentine BAYALA (Burkina Faso), Siam MARLEY (Côte d’Ivoire), Pauline MVELE (Gabon), Ifrikia KENGUE (Journalist - Congo Brazzaville), Ariane Astrid ATODJI (Cameroon)
Senegalese filmmaker Marie Ka studied film criticism at the Sorbonne before passing to the other side of the camera. After saving money for a year, she left for the United States in the direction of Hollywood, California and worked as an unpaid intern for two and a half years. Returning to Dakar, Marie freelanced for a year making several commissioned films and then headed back to the United States, this time to Atlanta, Georgia where she lived and worked for three years. Settled back in Dakar, she created her own production company, Picture Box. Based on the text in French by Laure Constantinesco, tvmonde.com
Invited by the Cinémas du Monde Pavillon/Pavilion of World Cinemas, Marie Ka is showcased by TV5 on the Croisette at the 2009 Cannes Festival. In five short episodes, she talks about her film, which is being screened at the Film Market, and her hopes of finding a producer.
The Cinémas du Monde Pavillon, a unique forum for discovery and dialogue, plays host to an artistic delegation of young directors and producers from twelve different countries. The Cinémas du Monde Pavillon, in the heart of the Cannes Film Festival's international village, has a triple aim: to raise the profile of film-making in Africa, the Caribbean, the Pacific, Asia, Latin America, the Near and Middle East, and Central and Eastern Europe; to provide an opportunity for cinema professionals to meet up and network; to support the development and distribution of films promoted by the artistic delegation.
The five TV5 episodes with French dialogue, are featured here with a transcription of the French to English translation by Beti Ellerson. The short vignettes offer a glimpse of the events in their context at the Cannes Festival.
Episode 1 Le Feuilleton Marie Ka Cannes 2009
Episode 1 - Marie Ka arrives at Cannes. She is looking for a generous producer to finance her first film. Traveling from the airport in Nice to her hotel room in Cannes, she talks about her expectations and her first impressions:
”Picture Box has three pilots for a children’s series that I would like to produce, the short film that I am trying to sell in the Short Film Corner, and a project for a feature film for which I would like to find a co-producer.”
Question: What do you hope to achieve here at Cannes?
”The first thing is to meet as many people as possible, to network, network, network. I noticed while on the plane that there are people from everywhere and that I find very exciting. Second, if I can get a deal, that would be great. Yes I am looking for funding for a feature film, that is my first objective. I am open for whatever comes my way. I am optimistic and hope for the best.”
Question: What does it feel like to come to Cannes?
”I see behind the scenes that there are a lot of people like myself. What I like about cinema is there are all sorts of people, not just the stars and superstars, but those who dream like me to make films.”
Question: Is coming to Cannes part of that dream?
”Yes, something that seemed so inaccessible, and then things fall into place and here I am at Cannes.”
Episode 2 Le Feuilleton Marie Ka Cannes 2009
Episode 2 – Marie Ka participates in a workshop on project financing: a good way to make contacts, and to better understand how to acquire funding for her next film.
“I am going to attend the Producer’s Network Breakfast. I see there are quite a few people in line, so it would be wise for me to also go there quickly to get my badge."
"It is structured around a table of participants and a moderator and different themes. I would like to attend Theme 14 regarding funding for the South.”
Question: Is this the right way to the Producer’s Network?
“Yes, I found the right place.”
Serge Hayat: Here we will talk about funding for projects from the Southern hemisphere.
“So we will be able to decide during a roundtable breakfast about funding?”
Serge Hayat: No, decisions will not be made, but rather, networking and making contacts.
“In fact it was much clearer than I had thought from reading the website, and it has been very useful information. To be able to speak directly to the representative has clarified many things, and to have had the opportunity to ask questions. It was a very good working session. I was able to meet many people from different countries.”
Question: Have you chosen other themes that interest you?
“No not yet, I must look at the program again.”
Question: Did you get many business cards?
“I have business cards from everyone, except those who did not have one, I have probably around eight.”
Question: A good collection of information?
“Yes, very productive.”
Episode 3 Le Feuilleton Marie Ka Cannes 2009
Episode 3 – Marie Ka sees the glamorous side of Cannes: it is the inauguration of the Pavillon Les cinémas du monde and she goes up the stairs in an evening gown!
“Here we are at the inauguration of the Pavillon Les cinémas du monde. We will spend the day with Abderrahmane Sissako, Juliette Binoche, and meet Gilles Jacob, this is the grand day.”
Juliette Binoche: Welcome, I am happy to have you here. That you make films that awaken, transform, touch…Salif Traoré from Mali…
Abderrahmane Sissako: Marie Ka from Senegal…
Juliette Binoche: Marat Sarulu from Kyrgyzstan
Marie-Christine Saragosse: There are a lot of people who are interested in your series, so let them know because they will be able to follow it on the website…
Marie Ka introduces herself to Gilles Jacob, President of the Cannes Festival.
“I will get dressed first, and put on make-up afterwards."
"This is a robe by Senegalese designer Ndiaga Diaw, the brand name is called Fitt, which in Wolof means courage, and also arrow, direction. I hope it will give me a boost later.”
Question: Is this “the” moment for you?
“I would not say that this is “the” moment, that would be when I will ascend the stairs for my film. This is nice to have the glamorous side, since it does not happen very often.”
The names of the filmmakers of the Pavillon Les cinémas du monde are announced as they advance to ascend the stairs.
Episode 4 Le Feuilleton Marie Ka Cannes 2009
Episode 4 – Marie Ka attends a workshop on how to pitch one's product. One must know how to summarize the script in a few catchy phrases to successfully sell a film project to a potential producer.
“Today I will attend a workshop on how to pitch your product, working individually with a coach. I will learn how to pitch my script in a short period of time."
"What I got from this was how to connect with the person quickly in order to tell my story, and to do it in a sincere way. There are different approaches, but what is important is to be yourself and to present your product using this attribute. More than anything else, it is a one-on-one conversation.”
Question: Are there any magic words?
“No, unfortunately!”
Question: Do you now feel more self-assured to sell your film?
“The short film, yes, because I had a real problem with explaining it. The feature film, well, I would say that now, I would use fewer words.”
Coach: She convinced me from the moment she talked about what touched her, with a genuine energy.
Question: So if I asked you to “pitch” your feature film?
“It depends on whether you will actually produce it?”
Episode 5 Le Feuilleton Marie Ka Cannes 2009
Episode 5 – Marie Ka discovers the Film Market, or the "business" side of Cannes. This is where cinema professionals—directors, producers, distributors—from around the world meet. Marie has two objectives: to sell her short film which is being screened at the Short Film Corner, the short film section of the Film Market, and to find a co-producer to finance her feature film project.
“The Short Film Corner is in the Film Market section.”
Question: Did you find where the Film Market is?
“Yes it is here in the catalog.”
Dialogue in the film Didi and Gigi: Gigi, what happened?
“We are on our way to the Film Market, I would like to meet representatives from Belgium and Canada.”
“I would like to get information about co-productions between Canada and Africa, please”
Representative: Of course, here you have access to all information about the co-productions that exist in Canada.
“I am a filmmaker from Senegal and I am interested in information about co-productions between Quebec and Senegal.”
“It is a feature film about a little girl who wants to go to school in an environment where it is not viewed as important for a girl to go to school.”
“It may not seem like a big thing, to talk with someone and explain what you are looking for, to receive the catalogues, and sometimes the person may highlight certain things, that’s very good to have. There are so many people, so much information, that sometimes you may not be able to have the direct contact with a person right away or to be able to go into detail. There are so many possibilities as well."
"Compared to Senegal it is so much better, because there, it is very little or nothing at all. But things have advanced, after a long period of stagnation. You have to hang in there.”
Question: We’ll see you next year at Cannes?
“Next year? I am not sure, but in two years, yes, with a feature film!”
