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
Regista, direttrice della fotografia e sceneggiatrice, Pocas Pascoal è nata in Angola e ha studiato cinema a Parigi.
Il suo lavoro attraversa i temi dell’esilio, della memoria collettiva e delle conseguenze della guerra e della colonizzazione. Ha realizzato documentari e cortometraggi e partecipato a numerose esposizioni internazionali.
Con il suo film Alda e Maria, acclamato dalla critica, ha ricevuto diversi riconoscimenti internazionali. Nel 2024 ha inoltre partecipato al progetto collettivo GREENHOUSE, presentato alla Biennale di Venezia.
Construídas em torno dos temas Entre-Lugar, Memória e Ancestralidade, Ecologia e Feminismo, Antirracismo – Família e Rua, as sessões contam com a presença de cineastas para conversar com o público sobre as obras apresentadas.
A seleção inclui obras de Denise Fernandes, Fábio Silva, Falcão Nhaga, Lolo Arziki, Melissa Rodrigues, Mónica de Miranda, Pocas Pascoal, Raquel Lima, Silas Tiny, Vanessa Fernandes e Welket Bungué.
O título deste ciclo, que tem curadoria de Kitty Furtado, parte da ideia de que to gaze não é o mesmo que olhar (to look), implica uma relação de poder assimétrico entre quem olha e quem é objeto desse olhar.
É possível adquirir um passe diário ou um passe geral, para além do bilhete individual de cada sessão.
***
This exhibition aims to showcase the cinema of afrodescendant people produced in Portugal in recent decades and to contribute to the emerging critical discourse.
Structured around the themes ‘In-between places’, ‘Memory and Ancestry’, ‘Ecology and Feminism’, and ‘Anti-racism – family and neighborhood’, the sessions are followed by a Q&A with the filmmakers and audience.
The selection includes films by Denise Fernandes, Fábio Silva, Falcão Nhaga, Lolo Arziki, Melissa Rodrigues, Mónica de Miranda, Pocas Pascoal, Raquel Lima, Silas Tiny, Vanessa Fernandes and Welket Bungué.
The title of this cycle, Black Gaze, organized by Kitty Furtado, has as a point of departure, the idea that “to gaze” is not the same as looking (to look), hence, it implies an asymmetrical power relationship between the one who looks and the one who is the object of this gaze.
Sisters of the Screen, the title of my ongoing project on African women in cinema, invokes the notion of a kinship shared through screen culture. Within this "sisterhood" are also experiences of sisters who have biological relationships. They come together as collaborators on film productions, protagonists in films, daughters of a famous filmmaker mother--keeping her torch alive.
Annouchka de Andrade and Henda Ducados, the daughters of Sarah Maldoror (1929-2020) are continuing the work of the existing Archives that Sarah created which entails retaining rights, recovering and restoring copies of films. Their objective is to ensure that Sarah's work continues to be visible and that the archives are available to all. Their heartfelt reflections on her as "filmmaker, woman and mother" provide a rare portrait both intimate and holistic, of Sarah's life; and at the same time, demonstrate the indelible mark she has left on them as daughters--children of cinema. Two sisters who in their own lives and work, continue their mother's journey to have "an impact on this world"…"always moving forward".
Similarly, Senegalese sister filmmakers Khady Sylla and Mariama Sylla, who collaborated on seven films together, were in many ways, "children of African cinema". Their mother worked at the secretariat of the Actualités Sénégalaises under the direction of Paulin Sumanou Vieyra, a breeding ground and site for the development of the young Senegalese cinema of the period. Nicknamed “Katanga”, it was the venue of hot debates about cinema and other cinematic trends--realism versus Soviet, Italian neorealism, New Wave, Brazil Novo Cinema.... (Translation, cited from Baba Diop, in French)
In her interview, journalist/film critic Djia Mambu asks Mariama Sylla about her experiences working with her sister Khady Sylla, who passed away in October 2013 and to what extent her passing influenced the ending of the film:
Mariama Sylla responded in this way:
"I started working with my sister at the age of 17; she is the one who trained me and introduced me to cinema and scriptwriting. The person I am today is the result of this long journey with Khady, the first-born of our family. I am the youngest and she and I often laughed about being at these two ends, despite the difference in age and education, we were able to come together."
"Khady's passing greatly influenced the final voice-over in the film but the visual editing is the same, as we had completed it just before her death. There are two voices in the film. The first is Khady’s, which was done in her presence, and the second is mine, which I wrote while finalising the film. I went through a moment of shock and anger, then slowly, the phrase in Césaire's work Notebook of a Return to My Native Land was constantly in my thoughts, and all this anger turned into a desire to write about my sister, to tell her a final goodbye, and this is how my voice was laid down in the film."
The film A simple parole was completed after Khady's death. In spirit, the two sisters continued their work together.
Belgian-Congolese sisters Cecile Mulombe Mbombe—cinematographer, and Pauline Mulombe—filmmaker, collaborated on their first joint project, the short film, Tout le monde a des raisons d'en vouloir à sa mère (Everyone has Reasons to be Angry with her Mother). While they have assisted each other on their respective work, this is the first time that they made a film together. They selected the sets and filming locations and did the storyboard together, while Cecile dealt with the technical side—the choice of the technical crew, the equipment and all of the tasks that entailed transforming the script to the realization of the film and Pauline focused on the creative side, hence, her ideas are represented on screen—in terms of her vision of the actors’ roles, the film set, the mise-en scène. Their proximity as sisters provided an immediate level of confidence and understanding in each other. Pauline emphasizes this point: "Only Cecile could know that when I said 'green', in fact, I meant 'blue'." Moreover, Tout le monde a des raisons d'en vouloir à sa mère follows the experiences of three sisters who were born and raised in Europe though their mother insists on raising them based on African values. In our interview, Pauline had this to say about the three sisters:
"The youngest wants to enjoy herself and grow and develop by making the most of European social and cultural life. The middle sister wants to utilize all of the possibilities available to resolve her problems, even if it means doing things that are unthinkable in her culture of origin, such as taking the birth control pill when still an adolescent. The oldest, even if she does not openly show her homosexuality, knows that she is 100% gay."
The daughters at the same time negotiate their relationship with their mother while attempting to understand each other as sisters and as young African women living in Belgium.
Mary-Noël Niba'a comedy series "Jane and Mary", in 6-minute episodes, employs humor to explore the everyday experiences of the eponymous sisters Jane who is 21 and her sister Mary, who is two years younger. Though at the same time close, their contrasting personalities animate the twists and turns of life in Yaoundé, where they live with their uncle Fred who is a wealthy businessman. Many times, it is in the light-heartedness of humor or comedy that the drama in relationships, and otherwise difficult situations may be resolved. In our interview Mary-Noël describes the use of comedy in this way:
"The idea is to highlight those situations that we joke about, though are not very funny, or the everyday occurrences that we laugh off, but that we really want to find a way out of. The use of a cheerful and comical tone is to downplay dramatic situations. The denunciation of certain everyday problems in fact draws attention to these realities, which, because of their frequency, become almost ordinary."
Hence, the emotional fluctuations in this sister-sibling relationship are treated with amusement and insouciance.
Also with humor, the web-series, Afropolitaine, which focuses on Afro-French culture relates the experiences of two Paris-based millennial sisters and their family dynamics, introducing the milieus of Yvoire, a 24-year-old business student and Yanis, a 20-year-old fledgling activist, as they interact often with opposing views.
In constrast, Alda and Maria by Pocas Poscoal recounts the coming-of-age story of the eponymous 16 and 17 year-old sisters fending for themselves as they make their way in Lisbon. Hoping to reunite with their mother who ultimately does not make the voyage from worn-torn Angola. Partially autobiographical, Pocas draws from her and her sister's experiences as well as the many other Angolan immigrants. She had this to say about making the film:
"In the eighties, hundreds of adolescents were sent to Portugal to escape the war in Angola or to avoid military service. I was one of those young people. With very little money in our pockets, my mother put my sister and me on a plane to Lisbon. In war-affected Angola, Lisbon resonated in our ears like a promise of freedom. We arrived in that city with a heart full of hope. Though my mother was to join us soon afterwards, the Angolan state signed a decree banning anyone from leaving the country. At sixteen and seventeen years old, we were on our own in a Lisbon suburb..." (Cinemassy: Pocas Pascoal with Ciomara Morais, Cheila Lima. 2012).
Iman Djionne's film project in development, "Coura + Ouleye" centers on the relationship between 16 and 19 year-old Coura and Oulèye, paternal sisters born into the complex polygamous family in which their respective mothers are co-wives. After the unexpected death of their father they set off to find his will and in the process get to know each other. Iman had this to say about the theme of the film project:
"The starting point of this story was wanting to explore what that bond could be like in this particular context where mothers are in conflict, living and raising their children apart. Can it exist, can it thrive even? By doing that, I wanted to examine how one man’s decision affects an entire family, informing who those individual members become and how they relate to the world… Starting out as mirror images of their mothers, Coura and Oulèye’s quest will take them outside of Dakar, far from their family’s burden and society’s expectations, to find a way through their sisterhood to break free from that mold, become their own, and in doing that, possibly bridge a broken community." (Director's Statement-Produire au Sud).
So the notion of "sisters of the screen" broadens to include "sisters on screen" encompassing the collaboration, representation, relationships and connections of biological sisters. Off screen, they collaborate in their production and advocacy as makers and stakeholders. As image-makers African women are striving to create complex, realistic, multi-dimensional representations of sister-sibling relationships on screen.
Report by Beti Ellerson
Following are links to the posts on the African Women in Cinema Blog from which the above texts were drawn.
Women in Cinema, Visual Media and Screen Culture in Lusophone Africa
Sarah Maldoror, was the first woman to do a film. The first film about Angola was made by a woman, there was no cinema before this. It was against colonialism, it was a very political cinema. It was a cinema that was found in the working-class districts--Pocas Pascoal
Women's presence in cinema, visual media and screen culture in Lusophone Africa dates to 1972 with the work of diasporan Sarah Maldoror. The screen cultural practices of women working in the Lusophone African diasporas, notably Angolan and Cabo Verdean continues into the present.
French Guadeloupian Sarah Maldoror, both on a personal and professional level, has been closely connected to Africa. A politically engaged filmmaker, she directed three films focusing on Africa, notably the internationally acclaimed Sambizanga (1972), the first film about the Angolan liberation struggle. In her personal life: she was married to Mario de Andrade, Angolan writer and one of the leaders of the Popular Movement for the Liberation of Angola (MPLA). Both film scholars and cinema professionals attest to her influential contribution to Angolan cinema, African lusophone cinema and African cinema in general. In 2011, Sarah Maldoror received the National Order of Merit from the French government for her contribution to culture. She was honoured in this way:
Dear Sarah Maldoror, you are an outspoken rebel, a fighter of injustices, a resolute humanist. Throughout your career, through the lens of your camera, you have always fought in order to tell and present, realistically and poetically the harshest of realities. For all of us, your perspective of the memory of slavery and colonialism has a distinct value. On behalf of the President of the Republic, we declare you a Knight of the National Order of Merit. Togolese filmmaker and international lawyer, Anne-Laure Folly who was mentored by Sarah Maldoror, made a film that was also set in Angola, Les oubliées (The forgotten women, 1996), which gives voice to the Angolan women left to deal with the ravages of the civil war. Anne-Laure Folly had this to say about Sarah Maldoror: Sarah…inspired me to do [Les oubliées]. She made a film called Sambizanga, which in my opinion is one of the masterpieces of African cinema. When I saw it, I had a desire to make a film thirty years later, about Angola. She cleared the way by showing the Angola war interpreted from the perspective of a woman. My approach is not a pioneering one; she has already done that.” Though neither Sarah nor Anne-Laure is Angolan, they share a pan-African vision, and a commitment to the history of Angolan struggle and in particular to women’s experience within it. In the beginning quote, Pocas Pascoal describes Sarah Maldoror as a role model for Angolans. Emerging among the next generation of Angolan cinema, she too is a first, as a pioneering camera operator. She directed the feature film Alda & Maria (2011), continuing the representation of women and war in Angola. Set in 1980, it follows the experiences of two sisters, 16 and 17 years old, as they attempt to reconstruct their lives in Lisbon after fleeing the civil war in Angola. To add to the gallery of pioneering women, Angola-born Maria João Ganga, is the first Angolan woman to make a feature film, Hollow City (2004).
The contribution of the Cabo Verdean diaspora has been invaluable to Cabo Verdean film culture and African cinema in general, notably the scholarship of second generation Cape Verdean American filmmaker and scholar Claire Andrade Watkins. Moreover, women of the Portuguese Cabo Verdean diaspora have collaborated on and directed a few films, and as film activists, are involved in African film festival planning and programming. Portugal-born Isabel Moura Mendes was at the helm of the state-owned Cabo Verdean national television channel, TCV in 2004 and has been involved in the production of a number of African lusophone documentaries. In addition, she is a programmer for various film festivals and film events in Europe.
The diasporic practices of remembering through cinematic journeying, is prevalent among African descendant filmmakers. Such as Belgium-based actress, stage actor and filmmaker Babetida Sadjo, who directed the autobiographical film, Bafata. The film follows Babetida on her journey back to her childhood and her homeland, Guinea-Bissau, related as a personal tale in the form of a travel diary. Her fiction film Hematome (2021), in which she also interprets the protagonist, recounts the experiences of Judith, who twenty five years later, dares to break her silence that shattered her life in order to find justice for the rape that she suffered as a child. Multi-faceted artist and cultural producer Vanessa Fernandes, of Cabo Verdean and Guinea-Bissau parentage, was born in the latter country and has studied, lived and worked in Europe, currently in Portugal, where she engages in afro-descendant discourse regarding both countries. Her first short film, Si Destinu (2016), was awarded Best Short Film at the Cabo Verde International Film Festival in 2016. Her trajectory is indicative of many transnational African women cultural practitioners, informed by their exilic, diasporic subject position.
Mozambican Isabel Noronha, at the same time one of the few, is the most visible woman practicing filmmaking in the country, and her contribution has been crucial to Mozambican knowledge production. In an interview by Max Annas and Henriete Gunkel (Gaze Regimes: Film and Feminisms in Africa eds. Jyoti Mistry & Atnje Schuhmann, 2015), she talks about the early history of Mozambican women of the moving images, noting the work of Fátima Albuquerque, who directed some of the first films in the 1980s. She observed that when joining the Instituto Nacional de Cinema (INC) in 1984, there was a cohort of women in diverse functions at the national cinema institute, working as production assistant, specializing in film lab developing, and in film distribution. She also emphasized that at the time, politically, there were strict rules regarding gender parity, hence discrimination was forbidden. Therefore, the politics of the epoch empowered women to participate, which led to the training of a cadre of women practitioners in the decade after the independence of Mozambique.
Psychologist, intellectual and multi-media artist Grada Kilomba, whose ancestral homelands are both São Tomé-Príncipe and Angola, was born in Portugal and is based in Germany. As many transnational cultural producers, she situates her work within the global African diaspora. In addition to her short films and video installations, she employs the moving image to perform her ideas and discourse on the myriad issues of race, knowledge, power and postcoloniality.
A list of Lusophone African women in cinema, visual media and screen culture, which is not exhaustive, includes:
Angola: Sarah Maldoror, Denise Salazar, Maria João Ganga, Pocas Pascoal, Hariana Verás
Cabo Verde: Isabel Moura Mendes, Claire Andrade Watkins, Ana Rocha Fernandes, Vanessa Fernandes, Ana Lucia Ramos,
SOURCE: Black Camera, An International Film Journal: African Women in Cinema Dossier: African Women of the Screen as Cultural Producers: An Overview by Country (Fall 2018)
Additional reading:
Katy Stewart. "Female bodies on Lisbon’s margins : Space, embodiment and (dis)possession in Alda e Maria (Pocas Pascoal, 2011)". Ed. Rebeca Maseda García, María José Gámez Fuentes, Barbara Zecchi. Gender-Based Violence in Latin American and Iberian Cinemas. Routledge: 2020.
REPORT BY BETI ELLERSON (Updated May 2020)
Articles on women in cinema, visual media and screen culture in Lusophone Africa
AFRICANA STUDIA 26 : Lutas de Mulheres no Cinema de África e do Médio Oriente | Women's Struggles in the Cinemas of Africa and the Middle East | Les luttes des femmes dans les cinémas de l’Afrique et du Moyen-Orient
Pocas Pascoal (Angola) : La Fabrique des Cinémas du Monde (Festival de Cannes) 2016
Source: La Fabrique des Cinémas du Monde https://www.lescinemasdumonde.com/
Image: SanoSi-Productions
Pocas Pascoal (Angola) : invited to attend the Festival de Cannes to present and discuss her film project“Girlie”, (2nd feature film).
Pocas Pascoal (Angola): sélectionnée de venir au Festival
de Cannes présenter et défendre son projet “Girlie”, (2èmelong métrage).
Synopsis: Girlie
[English]
This film explores emotions and the environment, showing one parent’s capacity to deprive the other
of their child and a child’s inability to choose between her parents.
Ema (6) lives with her father, a musician, in Lisbon. One day, during an authorised visit, her mother kidnaps her and takes her back to her home country, Cape Verde. Ema’s father attempts to find them, but her mother keeps running away. As Ema travels closer to the country’s heartland, she must face the solitude and mysteries of this new world.
[Français]
Le destin d’une enfant, éloignée de son foyer et perdue dans un archipel où sentiments et nature se répondent.
Ema, 6 ans, habite à Lisbonne avec son père musicien. Un jour, lors d’un droit de visite, sa mère Vissoka la kidnappe et l’emmène sur sa terre natale au Cap-Vert. Déracinée, l’enfant est plongée dans un univers mystérieux. Alors que son père redouble d’efforts pour la retrouver, Ema s’égare au cœur de l’île.
La Fabrique des Cinémas du Monde
[English]
La Fabrique des Cinémas du Monde is a professional programme helping talented young directors from emerging countries increase their international exposure. Each year this programme, developed by the Institut français, in partnership with France Médias Monde – RFI, France 24, Monte Carlo Doualiya- with the support of The International Organization of La Fancophonie, invites ten directors working on their first or second feature films to attend the Festival de Cannes along with their producers.
[Français]
La Fabrique des Cinémas du Monde est un programme professionnel développé par l’Institut français pour favoriser l’émergence de la jeune création des pays du sud sur le marché international. Conçu en étroite collaboration avec le Festival de Cannes et le Marché du Film, le programme permet chaque année à une dizaine de réalisateurs sélectionnés accompagnés de leurs producteurs de venir au Festival de Cannes présenter et défendre leurs projets de premier ou deuxième long métrage.
Excerpted from/extrait du FIFF Festival International du Film de Fribourg 2016 – Roundtable/Table ronde: Etre réalisatrice en Afrique | To be a woman filmmaker in Africa - 13 03 2016. Translation from French by Beti Ellerson
Franco-Burkinabe Claire Diao, moderator of the roundtable (10:30)
My objective as a journalist who focuses on African cinema is to de-compartmentalise all of the linguistic spaces, to talk about Africa from Morocco to Comoros, eliminating the frontiers between Arabophone, Francophone, Anglophone and Lusophone…
Claire Diao: Introduction of the four filmmakers (11:30)
Nadia El Fani, Angèle Diabang, Pocas Pascoal, Rama Thiaw, have directed documentary, fiction, long and short films. Nadia was born in Paris and raised in Tunisia, Angèle was born and raised in Dakar in Senegal, Rama Thiaw was born in Nouakchott in Mauritania and raised in Senegal, Pocas Pascoal was born and raised in Luanda in Angola.
Claire Diao (12:32)
The question may appear a bit silly, but I like to pose it nonetheless - At what point in your life did you realise that you were a woman?
Pocas Pascoal (12:47)
When we begin to experience how other people see us, when you do not have the same rights as a girl as a boy does, that there were games that boys played and that girls played. There are societal rules that indicate that you are a woman… that experience lasted a long time. Very young, one realises that girls have certain roles that are assigned to them, I realised this rather young.
Rama Thiaw (14:30)
It came to me rather late. Coming from Mauritania I was called dirty Arab when I arrived in Senegal at five years old. Arriving in France two years later I was called a dirty black. I only realised when in France that I was black…
I was always dressed as a boy, in clothes that were handed down from my brother with only a year difference in age. Hence we were treated mainly the same, I did not have this difference in terms of gender in our family.
I realised really as an adult this notion of woman, an example, when I presented the film Boul Fallé (2009) at Créteil, people responded that I am a woman but there are only men in my film. But I film what I am interested in. I thought, “we are still at this point?” It was there that I realised things from another angle…
Angèle Diabang (16:48)
That is not an easy question, I would say, as Rama while growing up I did not have this notion of gender. I grew up among a lot of women; I was a person. What I realised very young was that I was an orphan, that was really my feeling of difference between others and myself, that is what I lacked, and not between boy and girl. And when playing in the neighbourhood where boys and girls intermingled, there was not a distinction made. I went to a boarding school and there were girls of all ages and I never posed the question of gender.
This notion developed in my mind when I entered in the realm of art, when I began to do films, since I did films that focused on women, and was asked, “oh it was because you are a woman, because you are a feminist. But that was not my motivation for doing films about women, for a feminist cause, but rather because they are topics that interest me. But that question was always repeated to me “but you are a feminist.” I am feminist, but why must I wear this hat when I do this film. I can do films about women without it being for a cause.
Nadia El Fani (18:34)
As a little girl I was called a tomboy…it was then that I realised that I was a girl. My French grandfather worked as a mechanic for the railroad and would say to me “you will be an engineer”. But more particularly my difference was being a mixed-race child of a French mother and Tunisian father. But above all to have a communist father. The party was banned, hence operated clandestinely. My family being a bit on the fringes of society, even very engaged within it. I always claimed my feminism.
But not to be against something, but for women’s rights, as long as they have not been won it is to continue to fight. I always felt myself a woman, I have always wanted to be a woman, even if others felt there was a masculine aspect. It is more enjoyable, less difficult to be a woman because, oddly there are less things to prove within society, to be a man one must become virile, whereas, for us, femininity is a state of being, so it is easier. That comes from my provocative side.
Audience (21:31)
What touches or hurts you the most, negative attitudes/comments about race or gender?
Rama Thiaw (22:25)
I am a human being first and foremost. Before gender, sexuality or origin, I am a human being. I fight for my specificity. The day when we see ourselves as specific human beings we will have won. That is when humanity will have won. Capitalism divides us in different struggles—gender, sexual orientation, race—rather than to reason on the human level, globally…There is no hierarchy in racial and gender insults, they both hurt. Universal feminism can also hurt me. The notion of femininity is cultural. You will note that Angèle and I come from Senegal, we have a very different notion of feminism in Senegal... A forceful woman must fight, which in the west this violence is attributed to men. In Senegal women are the strong sex. They do the hard work; they are the ones who manage things. Men are afraid of women within the household. However, we must conquer the public space. Women handle the money; there is no problem of equality in parliament. On the other hand, we must fight to have access to abortion, because of cultural attitudes based on religion.
You may find this funny but westerns influenced me to make films…There was nothing interesting in the Tunisian programming on television. So we watched these westerns and others. I was passionate about them, about Charlie Chapin and black and white films, even Buster Keaton…My parents were film enthusiasts, they were intellectuals and we lived above a movie house. And as children we were somewhat rascals and slipped inside to watch the films. I always wanted to make films. My parents did not have the means to send me to film school in Paris and there were none in Tunisia. They wanted me to study law, I did that, as well as history and even nursing, never really completing them, and then I had the opportunity to work with an American film production and started that way…I decided to realise my dream, I created a production company and made films.
Angèle Diabang (27:44)
Growing up with a lot of restrictions, in a closed environment, in terms of television watching, we were obliged to choose, rather than to watch what we wanted, it was very difficult for me…Since this was something to which I did not have access, I developed a vivid imagination and quickly guessed the plot and I understood rapidly the process of story development…
Claire Diao (31:31)
To note Pocas was the first camerawoman in Angola!
That is true, which is how I started. Television began late in Angola, there was cinema but it was not accessible to all, but rather to the Portuguese colonialists, and to a certain elite, my family did not have access to it, we listened to the radio. I grew up with the telenovellas of the radio. It was in 1977-78 that television emerged in Angola. There was televised news, and gradually films were broadcast. The first cinema was Russian and Cuban propaganda films; as Angola was Marxist for a long time. And the cinema of Sarah Maldoror, who was the first woman to do a film. The first film about Angola was made by a woman, there was no cinema before this. It was against colonialism, it was a very political cinema. It was a cinema that was found in the working-class districts.
Claire Diao (34:05)
So in retrospect, to see a pioneering woman who was also a role model.
Pocas Pascoal (34:08)
Definitely! She was a role model and continues to be. Her name is mentioned on every street corner. And in addition she was the spouse of the revolutionary leader who created the MPLA party. She was the reference, it was a revolution! To respond to the question, how I came to cinema. I liked photography, I then worked at the television station, as a very young woman, I became the first woman camera operator. I had a desire to work with the image, which was impossible as there was a very long war. And hence there was no cinema until 2002. After Sarah Maldoror it was a long interim.
I watched films with my grandmother. And in Senegal it is quite amusing, in the movie theatres it is a spectacle in itself, as it is very animated with people responding to what they are viewing. We went to see the Kung Fu films with friends and siblings, we looked at horror films... On the other hand with my mother who was very interested in culture, we did not have the right to watch television, we watched films in black and white such as Charlie Chaplin, which I hated. My mother wanted to explain to us about World War II...She had us read Mein Kamp because she wanted us to understand the mind of the people, how they could be swept into Nazism… Also we learned about the Korean War and the Vietnam War. And we watched Apocalyse Now. I was shocked by it. But I did not know what it was called; I knew I wanted to do something like that. I did not know that was cinema. I wanted to be a poet…I was able to draw. Later I studied economics, since at the time I had utopian ideas wanting to change the world. I then realised that it would not be by economics but perhaps by the image…
Claire Diao (39:55)
Do you see solidarity among women filmmakers—internationally, regionally, locally?
Nadia, you endured a great deal of attacks because of the film that you made, did you feel support, solidarity as a filmmaker?
Nadia El Fani (40:24)
It’s a bit difficult to talk about the attacks that we endure. I had chosen to return to work in Tunisia…I wanted to work in the heart of my society, for a long time I felt that I was Tunisian and nothing else and I want to do my films there. Right away I was involved in Tunisian associations, that is part of how I was raised, and for things to advance they must be supported. The Tunisian filmmakers association was very strong at the time, there was a boycott again Carthage in 1980 initiated by the association; hence there was a political engagement. We created the African filmmakers guild in Paris though I did not agree as I thought initiatives should come from the continent—however my attitudes have evolved since then… Solidarity, I don’t know….
Angele Diabang (42:50)
I think it is difficult to say there is not solidarity when we are in a field where it is difficult to work alone. Trying to find funding, to find a group of men who are willing to work with us and to respect our artistic vision is already difficult to deal with, to find one’s place as a woman, who is not married, who must travel, be away for several weeks of filming, who cannot participate in the social events of the family because she must focus on her work, that is all difficult to deal with. How then are we able to support other African women filmmakers, and the issues that this status engenders? There are associations that exist in order to encourage and support these kinds of initiatives. Yes I attempt to do this on an individual level. Am I bad for not taking the time and effort to support others with their individual problems? I no longer have the strength and I have no one to lift me up when I fall. Do I have the strength to deal with all the problems of African cinema?
Rama Thiaw (46:00)
I am somewhere between both of you. No I do not think there is solidarity, between women, between African women, and between Africans, in general. It is a complicated question… There is a competition, that does not allow it, since there is a place for only one. I don’t believe in this, I position myself on the left of left. I try to be one who brings things together. I initiated a letter to the president of the Francophonie, Michaëlle Jean, because she was a woman, in the name of African women, but very few women signed on. I contacted Fepaci, no response. Though it is an association that is suppose to represent the filmmakers from the continent. A combat is like a marathon, one must reserve some energy or there will be none left. We have difficulty as women that is not talked about, that women must put their careers on hold to support their husband’s ,but they do not do the same for women. We struggle alone. What also exists is the mentality, each woman for herself, that each must succeed instead of the other. The struggles accumulate. The hope is to have the strength to do one’s own work and have some left to contribute to the development of our society. I don’t know if we succeed but we will try. We will create a production association in Senegal, right Angèle!
Angèle Diabang (48:10)
…I imagine that rather than think I want to make it instead of the other, there is the attitude that I just want to make it. In countries like here, where there is more means, one feels less of a competition, because the cake is bigger and there is a piece for everybody where with us, there is perhaps not even a cake but a piece. And we say I want that piece. That is why I say it is not the individualism, but that one wants to just do one’s film. Wanting to do my film does not mean that it is in place of Nadia doing hers, or Rama doing hers, or Pocas doing hers. No, I just want to be able to make my film. And that is the difference in being in an environment where there is almost nothing, and to do something with this almost nothing, and being in an environment where one may choose. Hence, it is not one against another, but that each wants to do something. And as Rama said, since there is the system that pits one against the other, I just want to do my film to have a piece.
Pocas Pascoal (49:48)
I have been in a lot of situations where women support other women, on all levels and internationally. In 2013 I met Nadia, three women were in competition at Fespaco, my film was not on 35 mm but digital and was withdrawn from competition… I was rather timid but Nadia, who I did not know at the time, supported me and said “we will go to the press with your story”. And in fact it became the film to see and won an important prize: the European Union special prize. I think there are those who are very much in solidarity. It is true that we are forced to think about ourselves, rather than for the cause, or to challenge things—since our cinema is very political, or give support to others. There is solidarity, and a great deal among women.
Nadia El Fani (53:05)
I am glad that you brought this up. Not to pat myself on the back but to talk about the men’s reaction. Those that were in competition, those with whom I fought in solidarity for many years, friends, colleagues. I was also insulted by some of them, it was violent. And on top of it, I also had a film in competition, so it is not about having the time. But when I am in solidarity with Pocas, it benefits me as well. When one struggles in the combat of others, it is for one’s own benefit as well. We cannot advance with the attitude that I have to be the one, it is a struggle for all. When we lead the struggle for all, we carry our own as well. Individuality is not the same as individualism. We are all irreplaceable; it is not about megalomania. It is true that in the struggle there is egoism… In filmmaking there is a team effort, and of course when one directs a team, there is a leader, but the leader should be fair. And to defend the cause of others is fundamental. There was a real injustice. The president of the jury was a woman cineaste. I went to talk to everybody, they all knew me. The reaction of the men was shocking, to imagine that for them to think that if their film in competition could have a better chance if the film was removed, the violence; that was frightening!
Pocas Pascoal (55:45)
The number of men who signed the petition was minimal. They refused. But it was for everyone, not just for me, but for everyone, for the cause. Thanks to this struggle, they announced that this would be the last year that this rule would apply. The called to make sure I was present because they would make the announcement. When in Cannes it has been done for some time.
Nadia El Fani (56:33)
I want to note as well that when my film was refused by Carthage [Film Festival], I wrote an open letter to them. Well I recall that there was a time when filmmakers were capable of boycotting festivals, stating that they will not attend because of a refusal to show a film. This solidarity does not cost much, though it has a great impact, but I did not get that support.
Angele Diabang (57:18)
I want to clarify that I did not say that I am against being supportive. However, one cannot reproach someone because they do not become involved in a cause. It is not because we are African filmmakers we must support others. I am not talking about myself, because whoever is familiar with my work knows that I am very active in Senegal, even putting my career on the line. I am president of theSociété sénégalaise du droit d'auteur (Senegalese copyright association), which I do without remuneration…I am saying that one should not be criticised for not automatically being engaged in the cause of others, since she may be dealing with the myriad situations regarding her own life and work…
Audience (59:35)
Professional recognition, what has been an important moment for you?
Nadia El Fani (59:58)
Interesting, as we are moving away from the discussion about being a woman filmmaker, that’s okay! I have always done what one would call polemical films, or in fact, films that did not initially find an audience in Tunisia or in the Arab world. My films were directed at my society, and by extension the Arab and African world. I would say I have a home at Fespaco, where my films have always been selected, but to the contrary, not in Tunisia.
When Neither Allah, nor Master! was finally recognised! What is recognition? To be recognised by the press, the media? Yes, it was interesting to finally receive an award, I don’t have many, perhaps special mentions, but never as far as obtaining an award. It’s amusing because, I am usually criticised because of my commitment, and here I am awarded for it!...
Claire Diao (1:01:37)
And Rama whose film was awarded the Critics Prize, category forum the Berlinale 2016.
Rama Thiaw (1:01:50)
No, not really!!!...
Claire Diao (1:02:06)
It could be recognition from a family member on social media!
Rama Thiaw (1:01:37)
…I would say that among us I am the one who has made the fewest films. Even though I began around the time as Angèle some 10 years ago. I have only made two films; I can’t really talk about recognition. I can only say that I am happy to have completed this film, which took six years. So when my father posted his congratulations on Facebook, after pouting for ten years that I did not pursue economics and become a banker, I felt I did accomplish something. One cannot say that because I made two films…no…I have a lot of work to do.
Nadia el Fani (1:03:04)
Do not be too modest, be happy about these accomplishments!
Claire Diao (1:03:10)
But one must know how to savour these moments of recognition!
Pocas Poscoal (1:03:21)
Yes, a lot. I have made other documentary films, but not with awards, but with this one [Alda & Maria]. There is a pride, it talks about Angola, and with it there is an Angolan woman in the world that is now talked about. At a festival in Los Angeles it received an award and the response to the film was very powerful. And of course in Angola. I also began directing later. As I stated I was editor. It has only been 10 years, so I do not have a lot of work behind me, but it will come.
Claire Diao (1:08:26)
We have talked about being a woman filmmaker, about solidarity, and now I would like to discuss the part about being a woman filmmaker in Africa. Some of you may have watched in the category New Territories, the film Mère-bi (The Mother of all) by Ousmane William Mbaye about his mother Annette Mbaye d’Erneville, the first professional journalist in Senegal, who was married to a professional man and raised four children. One moment she recounts that she travelled a great deal, produced many stories and her husband demanded that she return to work as a teacher, in other words that she “return to her place.” There was a blow up, and then a divorce. There is a particularity about your work in Africa, even though you may work between France and your respective country, in that there is the expectation that the woman takes care of the household and raise the children. You are also mothers, so the question that I would like to pose: Is family life compatible with a filmmaking career?
Nadia El Fani (1:09:49)
It is totally incompatible, that is clear. We have much more difficulty finding the time than men to do our work. It is much more difficult to leave one’s children to go to work, especially when they are small. I have only one child, a daughter who is now 25 years old. I saw the men who travelled to festivals, conferences, to whatever event. I was able to only do so only once a month. It was very difficult for me and for the men they had no problem to go here and there. My male counterparts had their wives to take care of the children. I definitely know what it is like as I have lived it. My particularity, especially as it relates to Tunisia, is that I am homosexual and the father of my child as well. We have never lived together. And I raised her basically alone. And it is not because he is homosexual that he acts better than other men regarding his child. He was macho, misogynous, he did not cared for her when I was not there. My mother, who is French, came to Tunisia when she retired and helped me a great deal, as well as my entourage of friends— women’s solidarity worked well in that regard, my friends took care of my daughter when needed. I think it is also difficult for the children, but at the same time there is a certain pride to have a mother who works in this field which is rather unique. For a long time my daughter refused to come to watch my films, now it is better. For her these films were the reason that separated her from her mother… And even at home I was cloistered in my office for long periods working on a project. It is a reason for living, not a profession. We are ready to make sacrifices, as are men, and we do it.
Pocas Poscoal (1:13:08)
It is very difficult. I was an editor for a long time, and there are also long working hours. Several times I brought my children to the editing room. There are a lot of guilty feelings also. Even when there was a chance to take a vacation, there is the question of taking the children and finishing the film, when working independently. My husband had a salaried position, hence working everyday. It is very difficult. There are no set hours. When I started working as a filmmaker, my children were a bit older, sixteen, fifteen years old. I could leave them alone and they could take care of themselves, and I could also travel for a few days. When my children were younger it was very difficult to travel. My children are very proud of me. There is no reproach about why I was absent. There is more for me a sense of guilt of not being able to give the maximum time to your children.
Rama Thiaw (1:14:48)
It is a sacrifice. It is not a profession, between quotes, “for a woman”. I think this is a reason why there is less coalescing among women because there is not the time to go to smoke a cigar in the club and talk about the next film. [Laughter in the audience]. Perhaps I was lucky. When I separated from my son’s father when he was two years old, I was still a student. I was used to keeping a charged scheduled, working on the weekend, attending classes, and caring for my son. I was a brave mother! I became disenchanted navigating between Senegal and France, on location and elsewhere, it became difficult to hold it all together. What is not discussed is the precariousness of this work as a woman, with parents from a modest background, without a man, without support. It is more difficult than poverty; between instability and poverty, a choice must be made. An anecdote: a young French woman asked me, “what do you do to live?” and my response, “I don’t really.” She replied, “well my dear you should do as I do, find a man to take care of you!” And I said, “no thank you.”
I was between Paris and Dakar and I made the decision to settle in Dakar to create my production company. I said to my son who was eleven years old—I am very close to my son since I was the one who raised him. I told him that I must leave to work as a filmmaker and that he would go to live with his father, it would be a more stable environment for him. He said it was okay but on the condition that for my next film I would dedicate to him in big letters “to my son Kaiya”.
Angèle Diabang (1:17:23)
I agree with everyone. It is a thankless job. Rama talked about precariousness, people think that because we travel around the world that we have money. And the men with whom we are in relationships do not necessarily help as they think that because you are in the media, in the press, you have everything you need, that we do not need assistance from them. But no, we had the child together and should give them an education. What is also difficult, I don’t know if you have also had this experience, but the further that we advance in our art, the more we succeed in our work, the more we lose in our relationships with our men. It is as if, I take up too much space in the house. I am not just the woman, I am the one who is seen on television, who is invited to Cannes. And I pay for that. With my ex-husband I was able, nonetheless, to have space in the house, where I could say, “here, this is my environment”…. When entering, knock first, when I want to have dinner with the others I will, if not I will do so alone. If I want to work until six in the morning I will. I need this environment, I need it in order to be me, it is important…I need a space to work, to go to for inspiration. Where I am me, as my person and not that of another.
It is difficult to find the balance of artist/creator, a family life, social life, to go to a wedding and other events during which women socialise together. I am not saying it is not enjoyable but I don’t have the time. I do not have the four hours to attend these events. I am then called a person who is not rooted in her culture. No that is not true. I am very much rooted in my culture it is just that I need solitude, quietness to work, to create, to be with myself, to be inspired, and often our society criticises us for expressing this need for solitude to create. But my 4-year-old son gives me the strength to work. I explain it to him and he understands. He says that when he is older he will go on the plane with me. And so all of the airplanes in the sky are those of his mom. Speaking of solidarity between women, as Nadia says, when I travel he has an entourage of women who takes care of him. And in fact he is able to do more than when I am there closed up in my office or in front of the computer. The house has more women when I am not there, when it is just the two of us. When I am gone, there is the grandmother, the friends, the cousins.
Claire Diao: Thank you to all and to the organisers.
Pocas Pascoal with Ciomara Morais, Cheila Lima. 2012. Portugal. V.O. 1:34. Drama: Cinemassy. Translation from French by Beti Ellerson
Synopsis and details
Lisbon, late summer 1980. Two sisters, sixteen and seventeen years old have just arrived from Angola to escape the war. Left to fend for themselves, Alda and her younger sister Maria will have to learn to survive in a foreign city without financial means. With the support of others in the Angolan community, in a gray, polluted suburb, they put together a precarious existence.
Pocas Pascoal
Originally from Angola, where she was the first female camera operator, she now lives in Paris. After studying at the National Conservatory of French Cinema, she devoted herself to photography and the production of short documentaries. In 2002, she was part of the group of artists at the Cité internationale des arts and participated in various exhibitions of contemporary art. Among others, she directed the 56 mn documentary, Il y a toujours quelqu'un qui t'aime (There is always someone who loves you), which competed in several festivals and received the SCAM award. Her first feature film, Alda and Maria has received awards in several festivals, including the Los Angeles Film Festival for best film.
Excerpt from Interview
"In the eighties, hundreds of adolescents were sent to Portugal to escape the war in Angola or to avoid military service. I was one of those young people. With very little money in our pockets, my mother put my sister and me on a plane to Lisbon. In war-affected Angola, Lisbon resonated in our ears like a promise of freedom. We arrived in that city with a heart full of hope. Though my mother was to join us soon afterwards, the Angolan state signed a decree banning anyone from leaving the country. At sixteen and seventeen years old, we were on our own in a Lisbon suburb..." Pocas Pascoal
Interview with Pocas Pascoal about Alda and Maria on Youtube: “Indépendance(s) et Création”. Transcription from French by Beti Ellerson
The origins of the film
I came to cinema a few years ago making documentary films about the collective memory of Angola; my first film focused on Angolan history. One day I found myself on the outskirts of Lisbon and realized that the story of these Angolans had not been told, in this vast space where a majority of Angolans live. The history of the Angolan youth who migrated from Angola in the 1970s to escape the military service. I myself experienced a part of the story of the film. I first began with a little documentary and then I wrote a fiction film.
The choice of fiction
I did not initially intend to do a fiction film. I wanted to make a documentary as I really like that genre. As it is a rather personal story, I did not want to focus only on me. I wanted to talk about other Angolan immigrants who I encountered when living that experience in Portugal.
The role of reality
I wanted to cast young people living in Lisbon; I met a lot of people, a lot of youth there. I met the children of the immigrants because this is another generation. I wanted to work with young people who were not professionals. During the casting I met so many people who told me their stories, which enriched the scenario.
The engagement of the actors
It was fantastic to work with the young people. The two girls and two boys had an extraordinary drive. We had very little time because there was not a lot of money to work with. They learned the script by heart, and that was so gratifying, since we could then focus on the staging and the directing of the actors. Even though it was a dramatic story, we were constantly laughing, exchanging ideas and stories. It was great.
Projects
After this film I started working on another project. There were producers who contacted me, a French producer, my Portuguese producer with whom I continue to work, as well as a Swedish producer. This new film project will take place in Angola this time.
Independence(s) and Creativity
I think if one looks for it, really wants it, there is always a place. Even if they are not independent productions one may always find the moment to express oneself and be creative.
Relevant link from the African Women in Cinema Blog
FESPACO 2013 - Pocas Pascoal : Por aqui tudo bem | Ici tout va bien | All is well
Fespaco 2013 - Feature film in competition | Long métrage competition
Por aqui tudo bem | Ici tout va bien | All is well (2012)
Pocas Pascoal (Angola) PRIX UNION EUROPÉENNE | EUROPEAN UNION AWARD
The filmmaker | La réalisatrice
[English]
Angolan Pocas Pascoal studied at the Conservatoire Libre du Cinéma Français and in 2002 was part of a group of artists at the Cité Internationale des Arts, taking part in several exhibitions of contemporary art. In 2003, she directed the documentary Il y a toujours quelqu’un qui t’aime | There is always someone who loves you, which was awarded a prize by the Société Civile des Auteurs Multimedia and was selected for several festivals. Por aqui tudo bem is her first feature film.
[Français]
L'Angolaise Pocas Pascoal a étudié au Conservatoire Libre du Cinéma Français et en 2002, elle a intégré le groupe d’artistes de la Cité Internationale des Arts et a participé à plusieurs expositions d’art contemporain. En 2003, elle a dirigé le documentaire Il y a toujours quelqu’un qui t’aime. Por aqui tudo bem est son premier long métrage.
Synopsis
[English]
In the late summer of 1980, Alda and her sister Maria, at the age of 16 and 17, arrive in Lisbon to escape the civil war in Angola. Left to themselves, they must learn to survive in a foreign city. Alda and Maria, from scratch will build a new life and become women. When problems nearly become unbearable, dreadful news fall upon them. Paradoxically, it is this terrifying news that give them the strength to decide their own fate.
[Français]
A la fin de l'été 1980, Alda et sa soeur Maria, âgées respectivement de 16 et 17 ans, arrivent à Lisbonne pour échapper à la guerre civile en Angola. Laissées à elles-mêmes, elles doivent apprendre à survivre dans une ville étrangère, alors qu'elles abordent la vie d'adultes.
[Português]
No final do verão de 1980, Alda e a sua irmã Maria, com a idade de 16 e 17 anos, chegam a Lisboa para escapar da guerra civil em Angola. Entregues a si próprias, elas vão ter que aprender a sobreviver numa cidade estrangeira. Alda e Maria vão construir uma nova vida do zero e tornar-se mulheres. Quando os problemas se tornam quase insuportáveis, chega-lhes uma notícia terrível. Paradoxalmente, é esse susto que lhes vai dar a força para decidir o seu destino.
