11 October | Octobre : International Day of the Girl Child | Journée internationale de la fille : A Focus on Related Films by African Women

UN : International Day of the Girl Child | Journée internationale de la fille 

The day aims to highlight and address the needs and challenges girls face, while promoting girls' empowerment and the fulfillment of their human rights.

Cette Journée vise à mettre en lumière les besoins des filles et à répondre aux défis auxquels elles font face. Cette Journée promeut également l'autonomisation des filles et l'exercice de leurs droits fondamentaux.

The girl-child as main protagonist in a selection of recent films by African women  

La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines

Source: African Women in Cinema Blog 

[English]

The filmmakers' message of tolerance and universal humanism comes through the children…child characters are represented as the hope for the desirable gender relations. (Sr. Dr. Dominica Dipio)

In the selection of films that follow, the girl-child plays the main protagonist. This representation of the girl character is an empowering practice as she deals with complex issues regarding her family and the world around her: Five-year-old Nadia lives in the slums of Casablanca where she is surrounded by a wall that separates her from the rest of the city; Elikia, is a five-year old with albinism, which is considered a stereotype by her neighbors; nine-year-old Zeinab opposes moving to Canada because she hates the snow; ten-year-old Mouna who copes with the death of her mother, almost never separates from her doll Ashia; ten-year-old Godelive attends a Catholic convent school in the Congo. However, the strict western education collides with her own memories of the traditions of her grandmother; eight-year-old Aida attempts to ease the suffering of her mother after her father brings a second wife into the household; after being accused of being a witch and placed in a "witches camp", 9-year-old Shula longs for freedom. Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family. Casablanca of the late 1970s. Eleven-year-old Hiba is fascinated with the cinema at a time in the history of Morocco where this space is still closed to women. Despite her mother’s interdiction, in order to enter the movie house, Hiba is ready to sell the object of her other passion, her books. 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]

Le message de tolérance et d'humanisme universel des cinéastes passe par les enfants ... les personnages d'enfants sont représentés comme l'espoir des relations de genre souhaitables. (Sr. Dr. Dominica Dipio)

Dans une sélection de films récents ci-dessous, la petite fille joue le rôle principal. Cette représentation cinématographique nous montre une image forte et valorisante de la petite fille, lorsqu’elle confronte des questions complexes concernant sa famille et le monde qui l’entoure : Mouna, 10 ans, qui fait face à la mort de sa mère, ne se sépare presque jamais de sa poupée Aisha ; Elikia, 5 ans, est atteinte d’albinisme que son voisinage considère comme un stéréotype ; Nadia, 5 ans, vit dans les bidonvilles de Casablanca où elle est entourée d'un mur qui la sépare du reste de la ville ; Godelive, 10 ans, vit dans un pensionnat catholique en Congo y recevant une éducation occidentale. Mais le souvenir de sa grand-mère s’interpose ; Zeinab, qui a neuf ans, ne veux pas vivre au Canada parce qu’elle n’aime pas la neige; Aida, 8 ans, tente de soulager la souffrance de sa mère après que le père amène une seconde femme à la maison; Shula, qui a neuf ans, accusée de sorcellerie et mise dans un camp de sorcières, rêve de liberté. Aya, 7 ans, vit avec ses parents salafistes, Mariem et Youssef. Par peur d'être banni par sa communauté salafiste, Youssef est contraint d'imposer le port du Niqab à sa femme. Un jour, Aya commet un acte qui bouleversera à jamais le destin de sa famille. Casablanca, fin des années 70. Hiba, âgée de 11 ans, est fascinée par le cinéma à un moment de l'histoire du Maroc où ce lieu est encore fermé à la gente féminine. Malgré l'interdiction de sa mère, elle est prête à revendre l'objet de son autre passion, ses livres, pour y entrer. 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.

 

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

Ashia by/de Françoise Ellong Cameroon |Cameroun)

A Place for Myself | Une place pour moi by/de Marie Clémentine Dusabejambo (Rwanda)

 

Aya by/de Moufida Fedhila (Tunisia | Tunisie)

Behind the Wall | Derrière le mur by/de Karima Zoubir (Morocco | Maroc)

I am not a witch | Je ne suis pas une sorcière by/de Rungano Nyoni (Zambia | Zambie)

 

Les Mignonnes | Cuties by/de Maïmouna Doucouré (France-Senegal)

Maman(s) by/de Maïmouna Doucouré (France-Senegal)

Riad de mes rêves | Riad of my dreams by/de Zineb Tamourt (Morocco | Maroc)

Soeur Oyo | Sister Oyo by/de Monique Mbeka Phoba (Belgium-DRC)

Zaineb Hates the Snow | Zaineb n’aime pas la neige by/de Kaouther Ben Hania (Tunisia |Tunisie)

Zambian Women in Cinema, Visual Media and Screen Culture

Zambian Women in Cinema, Visual Media and Screen Culture

"You can make a difference" Musola Cathrine Kaseketi

Musola Cathrine Kaseketi, the first Zambian woman filmmaker, is recognized for her work in raising consciousness through cinema regarding people with disabilities. Musola, who also has a disability, founded Shungu Namutitima International Film Festival of Zambia (SHUNAFFoZ) in order to showcase, the capabilities of people and women in particular, with disabilities. Wanting to share her skills with aspiring filmmakers she established Vilole Images Production in 2002 whose aim is "to provide a platform for skills and knowledge enhancement, development and promotion of the film and television industry through training workshops throughout the year and hosting of a film festival each year that will screen products with various themes that contribute towards social change and improve livelihoods."

Having attended the Newtown Film and Television School in Johannesburg, which incorporates the empowerment of black women in its mission, she in turn has been mentor to other women. Jessie Chisi who was trained by Musola acquired filmmaking experience while working on her film Suwi. In 2015 at the Women of the Year Awards--designed to honor some in various fields who have made a contribution in shaping Zambia--she received the Woman of the Year in Film. She had this to say about receiving the award: "I was honoured amongst many other great women including the Honourable Inonge Wina, the first female vice president of Zambia, and also with two of my mentors, Dr. Tukiya K. Mabula, Deputy Governor at the Bank of Zambia, and the woman who taught me filmmaking Musola Cathrine Kaseketi. How cool can that be? Being honoured together with the women who you look up to?" A decade before in 2007, Musola was recognized at the Harare-based International Images Film Festival for Women (IIFF), during which she received the Distinguished Woman of African Cinema Award at its inaugural reception. In 2013, Jessie Chisi founded the Zambia Short Film Fest to support emerging filmmakers. In 2022, she founded Zambian Women in Film to empower women's voices.

Like Jessie Chisi, women are aware of the important cultural exchange and support that the international experiences can provide. Because of the training and production opportunities outside of Zambia, women navigate in myriad locations, their home country always the point of departure. Seya Kitenge Fundafunda attended high school at the International School of Geneva, later enrolling in a film internship program in Helskinki, Finland. From these experiences she honed her filmmaking and organizing skills as director of a media company African Reel, whose mission is, to tell realistic African stories, to inspire, educate, motivate, challenge, as well as entertain the world in general and Africa in particular. Another project, Amka Arts Festival is a multi disciplinary arts festival whose main goal is to promote Zambian art and showcase its diverse culture. She had this to say about the empowerment of women: "Women are the major players in the development process and need to be empowered. Media is a powerful tool to educate women on issues that affect them, because what people see they believe and begin to practice." Rungano Nyoni, born in Zambia, emigrated to Wales at the age of nine. She directed several short films, and her first feature film, I am not a Witch, was selected at the Directors' Fortnight at Cannes.

Through the efforts of women in Zambia and the Diaspora, Musola Kaseketi's vision of her country continues to resonate: "Zambia is a nation filled with artists who have great potential in the area of acting and production."

These Zambian women are among the growing cohort of filmmakers and film activist who contribute to the vibrancy of a cinema culture in the country.

Report by Beti Ellerson

Links to articles on the African Women in Cinema Blog:

I Am Not A Witch by Rungano Nyoni (Zambia | Zambie)
https://africanwomenincinema.blogspot.com/2019/02/fespaco-2019-i-am-not-witch-je-ne-suis.html

Jessie Chisi: Woman of the Year in Film Award
https://africanwomenincinema.blogspot.com/2015/04/jessie-chisi-woman-of-year-in-film_15.html

Jessie Chisi talks about "Between Rings: The Esther Phiri Story" and her hopes for Zambian cinema
https://africanwomenincinema.blogspot.com/2014/09/jessie-chisi-talks-about-between-rings.html

I Am Every Woman: Call for Entry View Special Images Film Festival 2012 (Zambia)
https://africanwomenincinema.blogspot.com/2011/08/i-am-every-woman-call-for-entry-view.html

Rungano Nyoni: Mwansa the Great
https://africanwomenincinema.blogspot.com/2011/11/rungano-nyoni-mwansa-great.html

A Conversation with Sam Kessie
https://africanwomenincinema.blogspot.com/2011/05/conversation-with-sam-kessie.html

Musola Cathrine Kaseketi: You Can Make a Difference
https://africanwomenincinema.blogspot.com/2011/03/musola-cathrine-kaseketi-you-can-make.html

FESPACO 2019: I Am Not A Witch (Je ne suis pas une sorcière) by/de Rungano Nyoni (Zambia | Zambie)

FESPACO 2019

I Am Not A Witch (Je ne suis pas une sorcière) 2017, 93 min

by/de Rungano Nyoni (Zambia | Zambie)

Official Selection | Sélection officielle

Hors | Out of Competition

Panorama

Women at the 26nd Edition

Les femmes à la 26è édition

Synopsis

Set in the present day, an African satire about beliefs in witchcraft, revolving around a 9 year old girl, Shula, who is accused of being a witch. Shula is the first child to be taken to a travelling witch camp, where she is tethered to a spool with a ribbon. She is told that should she cut the ribbon and attempt to escape, she will be cursed and transformed into a goat. Over time Shula begins to long for freedom. Forced to decide whether to accept her fate as a witch, Shula ignites a rebellion within the camp.

Shula, 9 ans, est accusée de sorcellerie par les habitants de son village et envoyée dans un camp de sorcières. Entourée de femmes bienveillantes, condamnées comme elle par la superstition des hommes, la fillette se croit frappée d’un sortilège : si elle s’enfuit, elle sera maudite et se transformera en chèvre...Mais la petite Shula préfèrera-t-elle vivre prisonnière comme une sorcière ou libre comme une chèvre ?

Biography | Biographie

Born in Zambia, she emigrated to Wales at the age of nine. A graduate of the University of Arts in London, she directed several short films (The List, Mwansa the Great, Listen), which won her awards and welcome criticism. The List, won the Welsh BAFTA Award for Best Short Film and Listen (Kuuntele) received the Best Short Film Award at the Tribeca Film Festival in 2015. Her first feature length fiction, I Am Not a Witch was selected at the Directors' Fortnight of the Cannes Film Festival 2017, and earned her the Best Director and the Best Director Award for a first film at the 20th British Independent Film Awards 2017.

Née en Zambie, elle émigre au Pays de Galles à l'âge de neuf ans. Diplômée de l'University of Arts de Londres elle réalise plusieurs courts métrages (The List, Mwansa the Great, Listen), qui lui valent récompenses et bon accueil critique. Listen (Kuuntele) reçoit le prix du meilleur court métrage au Festival du film de Tribeca en 2015.

Son premier long métrage de fiction, I Am Not A Witch est sélectionné à la Quinzaine des réalisateurs du Festival de Cannes 2017. Ce film lui vaut de recevoir le prix du meilleur réalisateur et du meilleur réalisateur d'un premier film aux British Independent Film Awards 2017.

Text Source: Wikipedia & unifrance.org

Images Source: unifrance.org

11 October | Octobre 2018 : International Day of the Girl Child | Journée internationale de la fille

11 October | Octobre 2018

International Day of the Girl Child

Journée internationale de la fille

UN : International Day of the Girl Child | Journée internationale de la fille 

The day aims to highlight and address the needs and challenges girls face, while promoting girls' empowerment and the fulfillment of their human rights.

Cette Journée vise à mettre en lumière les besoins des filles et à répondre aux défis auxquels elles font face. Cette Journée promeut également l'autonomisation des filles et l'exercice de leurs droits fondamentaux.

The girl-child as main protagonist in a selection of recent films by African women  

La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines

[English]

In the selection of films that follow, the girl-child plays the main protagonist. This representation of the girl character is an empowering practice as she deals with complex issues regarding her family and the world around her: Five-year-old Nadia lives in the slums of Casablanca where she is surrounded by a wall that separates her from the rest of the city; Elikia, is a five-year old with albinism, which is considered a stereotype by her neighbors; nine-year-old Zeinab opposes moving to Canada because she hates the snow; ten-year-old Mouna who copes with the death of her mother, almost never separates from her doll Ashia; ten-year-old Godelive attends a Catholic convent school in the Congo. However, the strict western education collides with her own memories of the traditions of her grandmother; eight-year-old Aida attempts to ease the suffering of her mother after her father brings a second wife into the household; after being accused of being a witch and placed in a "witches camp", 9-year-old Shula longs for freedom. Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family. Casablanca of the late 1970s. Eleven-year-old Hiba is fascinated with the cinema at a time in the history of Morocco where this space is still closed to women. Despite her mother’s interdiction, in order to enter the movie house, Hiba is ready to sell the object of her other passion, her books.

[Français]

Dans une sélection de films récents ci-dessous, la petite fille joue le rôle principal. Cette représentation cinématographique nous montre une image forte et valorisante de la petite fille, lorsqu’elle confronte des questions complexes concernant sa famille et le monde qui l’entoure : Mouna, 10 ans, qui fait face à la mort de sa mère, ne se sépare presque jamais de sa poupée Aisha ; Elikia, 5 ans, est atteinte d’albinisme que son voisinage considère comme un stéréotype ; Nadia, 5 ans, vit dans les bidonvilles de Casablanca où elle est entourée d'un mur qui la sépare du reste de la ville ; Godelive, 10 ans, vit dans un pensionnat catholique en Congo y recevant une éducation occidentale. Mais le souvenir de sa grand-mère s’interpose ; Zeinab, qui a neuf ans, ne veux pas vivre au Canada parce qu’elle n’aime pas la neige; Aida, 8 ans, tente de soulager la souffrance de sa mère après que le père amène une seconde femme à la maison; Shula, qui a neuf ans, accusée de sorcellerie et mise dans un camp de sorcières, rêve de liberté. Aya, 7 ans, vit avec ses parents salafistes, Mariem et Youssef. Par peur d'être banni par sa communauté salafiste, Youssef est contraint d'imposer le port du Niqab à sa femme. Un jour, Aya commet un acte qui bouleversera à jamais le destin de sa famille. Casablanca, fin des années 70. Hiba, âgée de 11 ans, est fascinée par le cinéma à un moment de l'histoire du Maroc où ce lieu est encore fermé à la gente féminine. Malgré l'interdiction de sa mère, elle est prête à revendre l'objet de son autre passion, ses livres, pour y entrer.

Ashia by/de Françoise Ellong Cameroon |Cameroun)

A Place for Myself | Une place pour moi by/de Marie Clémentine Dusabejambo (Rwanda)

Behind the Wall | Derrière le mur by/de Karima Zoubir (Morocco | Maroc)

I am not a witch | Je ne suis pas une sorcière by/de Rungano Nyoni (Zambia | Zambie)

Maman(s) by/de Maïmouna Doucouré (France-Senegal)

Riad de mes rêves | Riad of my dreams by/de Zineb Tamourt  (Morocco | Maroc)

Soeur Oyo | Sister Oyo by/de Monique Mbeka Phoba

Zaineb Hates the Snow | Zaineb n’aime pas la neige by/de Kaouther Ben Hania (Tunisia |Tunisie)

Aya by/de Moufida Fedhila (Tunisia | Tunisie)

African Women in Cinema Blog: Updates | Actualités - 20.10.2017 - News around the Internet | Les infos autour de l’Internet

African Women in Cinema Blog

Updates | Actualités

20 – 10 – 2017

News around the Internet

Les infos autour de l’Internet

Content | Contenu

Tope Oshin

Lupita Nyong’o

Kaouther Ben Hania

Rungano Nyoni

Femmes en audiovisual (CNA)

Arts Femmes Bamako

Aïssa Maïga

Tope Oshin

Tedx Mende Women 03 November 2017. Lagos, Nigeria. Tedxmendewomen.

Lupita Nyong’o

Lupita Nyong’o: Speaking Out About Harvey Weinstein. 19 October 2017. Nytimes.com.

Kaouther Ben Hania

La Belle et la meute (Aala kaf ifrit), de Kaouther Ben Hania. Eloge de la détermination. Olivier Barlet. 11 octobre 2017. Africultures.com.

Rungano Nyoni

Rungano Nyoni - Director. Rungano Nyoni about her feature debut, I Am Not a Witch, by Kaleem Aftab. 13 October 2017. Cineuropa.org.

L'atelier de formation des femmes en audiovisuel

Le CNA a ouvert l'atelier de formation des femmes en audiovisuel à Yagoua, Cameroun. 8 octobre 2017. Afriquepremiere. 

Arts Femmes Bamako

Festival International « ARTS FEMMES 2018 – Appel à candidature. Facebook rdvcheznous 

Aïssa Maïga

Aïssa Maïga et Sébastien Onomo présidents du groupe francophone d'UniFrance. 05 oct 2017. UniFrance.

African Women in Cinema Blog: Updates | Actualités 14-07-2017 News around the Internet | Les infos autour de l’Internet

African Women in Cinema Blog

Updates | Actualités

14 – 07 – 2017

News around the Internet |

Les infos autour de l’Internet

Content | Contenu :

Zanele Muholi

Rungano Nyoni

Mulheres negras no Audiovisual

Nike Kadri

Zanele Muholi

‘Photography saved my life’ – the year-long exposure of visual activist Zanele Muholi. Emine Saner. 14 July. 2017. The Guardian. 

Rungano Nyoni

Close-up. Durban International Film Festival 2017 (South Africa)

Awotele. 

Mulheres negras no Audiovisual

25 de julho, é dia de marchar e celebrar a luta e a vida de nós mulheres da diáspora negra. Masterclass. Empoderadas Facebook. 

Nike Kadri

By the Tide executive produced by Nigerian-American Nike Kadri. By The Tide website. 

INTERVIEW VIDEO

Rungano Nyoni

Cannes 2017 : Rungano Nyoni – Zambia. Sudu Connexion

African Women in Cinema Blog: Updates | Actualités - 09 June | juin 2017 - News on the Internet | Les infos autour de l’Internet

African Women in Cinema Blog

Updates | Actualités

09 – June | juin – 2017

News around the Internet | Les infos autour de l’Internet 

Content | Contenu :

Michelle Mboya

Jihan El-Tahri

Rungano Nyoni

Iman Kamel

Michelle Mboya

Telling Untold Stories. 5 June 2017 by Natalie Makovora. Directed by Women.

Jihan El-Tahri

« Réfléchir de nouveau à notre identité collective africaine ».  2 juin 2017. Le grenier de Kabili.

Rungano Nyoni 

The Film About Feminism and Witchcraft That You Need to See. Douglas Greenwood. Another Mag.

Iman Kamel

Egyptian director Iman Kamel wins Iconic Women Award. May 2017. Ahram Online. 

Cannes 2017: Rungano Nyoni's "I Am Not a Witch"

Maggie Mulubwa, in I Am Not a Witch, by Rungano Nyoni

Cannes 2017:  Rungano Nyoni's "I Am Not a Witch", a review by Olivier Barlet (Africultures)

This section about the film, I Am Not a Witch by Rungano Nyoni is part of the longer critique by Olivier Barlet. Translation from French by Beti Ellerson for the African Women in Cinema Blog. (An African Women in Cinema Blog/Africultures collaboration). Image : Africultures. 

I Am Not a Witch is directed by a woman. Rungano Nyoni, who was born in Zambia and grew up in Wales, is known for her multi-awarded short films: The List, Mwansa the Great, and Listen. Shot in the vicinity of Lusaka, I Am Not a Witch is a witty jewel with an unbiased perspective, in which the nine-year-old Maggie Mulubwa imposes herself, her gaze not to be forgotten. Based on the observation that it is almost always women who are accused of sorcery and that the phenomenon is found in different places in Africa, Rungano Nyoni spent a month in Ghana in a two-hundred-year-old "witch camp". This experience allowed her to observe the organisation and patterns as well as the conditions in which the women worked and to visualise the scenario of the film, which she developed at the Cinéfondation du Festival de Cannes in 2013 and then in 2014 at the Moulin d'Ande.

It begins with tourists on a bus who, in the winter of the Four Seasons of Vivaldi, go to see, as in a zoo, a community of witches—made-up and even ludicrously menacing. Hence, the film will tell us about prejudices and in so doing is not afraid to diverge. The witches all have a white ribbon attached to their backs preventing them from flying away, as this is the manner in which they could kill people. Cutting these ribbons would transform them into goats. In the village, the nine-year-old Shula is regarded as a witch, such that she is ultimately incorporated into this community. 

She stands out from the rest by the acuity of her judgment in naming those guilty of theft, to the extent that the chief commissioner designates her as assistant. So off we go through a series of fantastical scenes, extremely funny and absolutely allegorical, since throughout the film, it is the condition of women that is evoked: these witches exploited and uneducated, are prodded to buy wigs; they gulp down gin during an inspection by a government representative, the extravagant televisual trickery drives the commissioner's wife to renounce her identity. All of this is based on ancestral beliefs: one summons to make it rain, one skins a chicken, etc. Emancipation strategies are outlined, as in the tale that Shula relates where the ruse inverts the exploitative relationship, and of course, in the finale of this flamboyant film.

African Women in Cinema Blog: Updates | Actualités - 02 June | juin 2017 - News on the Internet | Les infos autour de l’Internet

African Women in Cinema Blog

Updates | Actualités

02 – June | juin 2017

News around the Internet | Les infos autour de l’Internet 

Content | Contenu :

Kadhy Touré

Tope Oshin

Samantha Biffot

Claire Diao

Rungano Nyoni

Kaouther Ben Hania

La Parole des femmes

Ng’endo Mukii

Kadhy Touré

Le cinéma comme business. Entretien de Claude Forest avec Kadhy Touré. 30 mai 2017. Africultures. 

Tope Oshin

topeoshinfilm. Caught in a moment. 31 May 2017. Instagram.

Wendy Bashi

Chronique congolaise: le 19 décembre filmé à travers les prouesses digitales d’Actualité.cd. Joshua Massarenti. 30 mai 2017. Infos Grands Lacs. 

Samantha Biffot

Samantha Biffot représentera le Gabon aux Africa Movie Academy Awards 2017. 30 mai 2017. Gabon Celebrities. 

Claire Diao

Avec “double vague”, Claire Diao met en lumière les cinéastes issus des quartiers. Faustine Kopiejwski. 29 mai 2017. Cheek Magazine.

"J'interroge notre apport au cinéma...". O. Hind. 28 mai 2017. Lexpressiondz.com.

Rungano Nyoni

I Am Not a Witch director Rungano Nyoni: ‘The chief Whatsapped his people to find our star’. Ellen E. Jones. 25 May. 2017. TheGuardian.

Kaouther Ben Hania

La Belle et la meute (Aala kaf ifrit), de Kaouther Ben Hania. Olivier Barlet. 23 mai 2017. Africultures.

La Parole des femmes

PCMMO 2017 : la parole des femmes. Panorama des cinemas du Maghreb et du moyen-orient. Olivier Barlet.  26 avril 2017. Africultures. 

Ng’endo Mukii

“I am here to speak”: spotlight on Ng’endo Mukii. Rachel Goldberg .3 April 2017. Vimeo Blog.

African Women in Cinema Blog : Updates | Actualités 26-05-2017 - News around the Internet | Les infos autour de l’Internet

African Women in Cinema Blog

Updates | Actualités

26 – 05 – 2017

News around the Internet

Les infos autour de l’Internet

Content | Contenu :

Awa Traoré

Rungano Nyoni

Rihanna, Lupita, Issa, Ava

Nneka Onuorah

Amina Weira

Awa Traoré

[Sudu Connexion] Awa Traoré est la productrice malienne du long-métrage documentaire Renaissance d'Andrey Diarra, sélectionné au Ouaga Film Lab 2016 et au Pavillon Les Cinémas du Monde 2017. 24.05.2017. YouTube.

Rungano Nyoni

Cannes Hidden Gem: 'I Am Not a Witch' Satirizes Sorcery in Modern-Day Zambia. Alex Ritman. 21-05-2017. Hollywood Reporter.

Rihanna, Lupita, Issa, Ava

Twitter's dreams just became a reality: Rihanna and Lupita Nyong'o really will costar in a buddy movie directed by Ava DuVernay. Issa Rae is reportedly in talks to pen the script. The film will stream on Netflix, according to Entertainment Weekly. 22-05-2017. Harpersbazaar.

Nneka Onuorah

Interview – Nneka Onuorah, réalisatrice de « The Same Difference » : « Je voulais faire un film pour les femmes qui n’adhèrent pas forcément aux labels » 22 mai 2017. L’Afro. 

Amina Weira

Caméras des champs : l’uranium, thème central de la Colère d'Amina Weira 

20-05-2017. Republicain-Lorrain. 

African Women in Cinema Blog: Updates | Actualités 19-05-2017 - News around the Internet | Les infos autour de l’Internet

African Women in Cinema Blog

Updates | Actualités

19 – 05 – 2017

Content | Contenu :

African Female Filmmakers

Rungano Nyoni

June Givanni

Claire Diao, Aset Malanda, Nina Melo, Josza Anjembe,

Jihan El-Tahri

African Female Filmmakers

The Centre for Film Studies (SOAS) 3rd Postgraduate Symposium: 'Global Cinemas Speak Back'. 31 May 2017. Centre for Film Studies.

Todun Joseph: Female Representation by Female Filmmakers in Nollywood Films

Robin Steedman: Negotiating Transnational Circuits of Screen Media: Nairobi-based Female Filmmakers and World Cinema

Rungano Nyoni

Cannes First-Look: Rungano Nyoni's Buzzy Feature Debut, 'I Am Not a Witch'. Tambay Obenson. 19 May 2017. Shadow and Act.

June Givanni

Black Film British Cinema Conference-University of Greenwich. 18-19 May 2017. UnivGreenwich

Claire Diao, Aset Malanda, Nina Melo, Josza Anjembe, 

Le Grand Débat: Un autre visage du cinema français. 17 mai 2017. Africa1. 

Jihan El-Tahri

La cineasta egipcia Jihan El Tahri propone recontextualizar el continente a través de películas. 8 May 2017. Elpais.com

African Women | Les femmes africaines au Festival de Cannes 2017

African Women | Les femmes africaines au

Festival de Cannes 2017

Un Certain Regard

Kaouther Ben Hania :  La belle et la meute | Aala kaf ifrit | Beauty and the Dogs

Image: Facebook Page

[Français]
Lors d'une fête étudiante, Mariam, jeune Tunisienne, croise le regard de Youssef. Quelques heures plus tard, Mariam erre dans la rue en état de choc. Commence pour elle une longue nuit durant laquelle elle va devoir lutter pour le respect de ses droits et de sa dignité. Mais comment peut-on obtenir justice quand celle-ci se trouve du côté des bourreaux ?

[English]

Mariam just wanted to enjoy the night, when a tragic event occurs. Despite the trauma, she is determined to go to the police. But what can be done when your persecutor is your only chance?

Fortnight Selection - Quinzaine des Réalisateurs

Rungano Nyoni:  I Am Not a Witch 

Image: Unifrance

[Français]

Rungano Nyoni est née à Lukasa en Zambie et a grandi au Pays de Galles. Réalisatrice de nombreux courts métrages dont The List, qui remporte un BAFTA, elle coécrit The Mass of Men, qui remporte un Léopard d’Or au festival de Locarno. Son dernier film, Listen, a été présenté à la #quinzaine2014 dans le programme Nordic Factory. Elle présente cette année son premier long métrage I Am Not a Witch (projet écrit durant sa résidence d’écriture à la Cinéfondation du Festival de Cannes 2013). Le film relate l’histoire de Shula, une fillette de 9 ans qui après un incident banal survenu dans son village, est accusée de sorcellerie. Après un rapide procès, elle est reconnue coupable et exilée au milieu d’un désert enfermée dans un camp de sorcières.

[English]

Born in Zambia and raised in Wales, Rungano Nyoni has made a number of shorts including BAFTA winner The List, as well as written the Locarno Golden Leopard winner The Mass of Men. She was selected for the Nordic Factory where she co-directed the short Listen, which premiered in Directors' Fortnight. She presents her first feature film I Am Not a Witch which tells us the story of a nine year old girl accused of witchcraft and condemned to live assigned to a witch camp. Set in the present day, an African satire about beliefs in witchcraft, revolving around a 9 year old girl, Shula, who is accused of being a witch. Shula is the first child to be taken to a travelling witch camp, where she is tethered to a spool with a ribbon. She is told that should she cut the ribbon and attempt to escape, she will be cursed and transformed into a goat. Over time Shula begins to long for freedom. Forced to decide whether to accept her fate as a witch, Shula ignites a rebellion within the camp.

Festival Corner

Twiggy Matiwana: The Bicycle Man

Image: sub.festival-cannes.fr

[Français]

Steven Grootboom, considéré comme un « outsider » par certains membres de sa communauté, vit pour sa famille et son jardin potager, la principale activité génératrice de revenus. De façon inattendue, le monde de Steven s'écroule après le diagnostic d’un cancer du sein. Cette nouvelle dévastatrice a un effet sur Steven, sa femme, et surtout la relation entre Steven et son fils, qui est au milieu de ses examens de fin d'études.

[English]

Steven Grootboom, considered an outsider by some members of his community, lives for his family and his income generating vegetable garden. Unexpectedly, Steven’s world comes crashing down when he is diagnosed with breast cancer. This devastating news takes a toll on Steven, his wife and most of all Steven’s relationship with his son who is in the middle of his school-leaving examinations.

The girl-child as main protagonist in a selection of recent films by African women | La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines

The girl-child as main protagonist in a selection of recent films by African women  

La petite fille comme protagoniste principale dans une sélection de films récents par les réalisatrices africaines

[English]

The filmmakers' message of tolerance and universal humanism comes through the children…child characters are represented as the hope for the desirable gender relations. (Sr. Dr. Dominica Dipio)

In the selection of films that follow, the girl-child plays the main protagonist. This representation of the girl character is an empowering practice as she deals with complex issues regarding her family and the world around her: Five-year-old Nadia lives in the slums of Casablanca where she is surrounded by a wall that separates her from the rest of the city; Elikia, is a five-year old with albinism, which is considered a stereotype by her neighbors; nine-year-old Zeinab opposes moving to Canada because she hates the snow; ten-year-old Mouna who copes with the death of her mother, almost never separates from her doll Ashia; ten-year-old Godelive attends a Catholic convent school in the Congo. However, the strict western education collides with her own memories of the traditions of her grandmother; eight-year-old Aida attempts to ease the suffering of her mother after her father brings a second wife into the household; after being accused of being a witch and placed in a "witches camp", 9-year-old Shula longs for freedom. Seven-year-old Aya lives with her Salafist parents, Mariem and Youssef. For fear of being banished by his Salafist community, Youssef is obliged to impose the wearing of Niqab on his wife. One day, Aya commits an act that will disrupt forever the fate of her family. Casablanca of the late 1970s. Eleven-year-old Hiba is fascinated with the cinema at a time in the history of Morocco where this space is still closed to women. Despite her mother’s interdiction, in order to enter the movie house, Hiba is ready to sell the object of her other passion, her books. 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]

Le message de tolérance et d'humanisme universel des cinéastes passe par les enfants ... les personnages d'enfants sont représentés comme l'espoir des relations de genre souhaitables. (Sr. Dr. Dominica Dipio)

Dans une sélection de films récents ci-dessous, la petite fille joue le rôle principal. Cette représentation cinématographique nous montre une image forte et valorisante de la petite fille, lorsqu’elle confronte des questions complexes concernant sa famille et le monde qui l’entoure : Mouna, 10 ans, qui fait face à la mort de sa mère, ne se sépare presque jamais de sa poupée Aisha ; Elikia, 5 ans, est atteinte d’albinisme que son voisinage considère comme un stéréotype ; Nadia, 5 ans, vit dans les bidonvilles de Casablanca où elle est entourée d'un mur qui la sépare du reste de la ville ; Godelive, 10 ans, vit dans un pensionnat catholique en Congo y recevant une éducation occidentale. Mais le souvenir de sa grand-mère s’interpose ; Zeinab, qui a neuf ans, ne veux pas vivre au Canada parce qu’elle n’aime pas la neige; Aida, 8 ans, tente de soulager la souffrance de sa mère après que le père amène une seconde femme à la maison; Shula, qui a neuf ans, accusée de sorcellerie et mise dans un camp de sorcières, rêve de liberté. Aya, 7 ans, vit avec ses parents salafistes, Mariem et Youssef. Par peur d'être banni par sa communauté salafiste, Youssef est contraint d'imposer le port du Niqab à sa femme. Un jour, Aya commet un acte qui bouleversera à jamais le destin de sa famille. Casablanca, fin des années 70. Hiba, âgée de 11 ans, est fascinée par le cinéma à un moment de l'histoire du Maroc où ce lieu est encore fermé à la gente féminine. Malgré l'interdiction de sa mère, elle est prête à revendre l'objet de son autre passion, ses livres, pour y entrer. 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.

Ashia by/de Françoise Ellong Cameroon |Cameroun)

A Place for Myself | Une place pour moi by/de Marie Clémentine Dusabejambo (Rwanda)

 

Aya by/de Moufida Fedhila (Tunisia | Tunisie)

Behind the Wall | Derrière le mur by/de Karima Zoubir (Morocco | Maroc)

I am not a witch | Je ne suis pas une sorcière by/de Rungano Nyoni (Zambia | Zambie)

 

Les Mignonnes | Cuties by/de Maïmouna Doucouré (France-Senegal)

Maman(s) by/de Maïmouna Doucouré (France-Senegal)

Riad de mes rêves | Riad of my dreams by/de Zineb Tamourt (Morocco | Maroc)

Soeur Oyo | Sister Oyo by/de Monique Mbeka Phoba (Belgium-DRC)

Zaineb Hates the Snow | Zaineb n’aime pas la neige by/de Kaouther Ben Hania (Tunisia |Tunisie)

Also see : UN International Day of the Girl Child | Journée internationale de la fille

https://africanwomenincinema.blogspot.com/2018/10/11-october-octobre-2018-international.html

UPDATED | MISE A JOUR : 16 / 10 / 2020

Four women among Open Doors (Locarno) projects finalists, Rungano Nyoni among award winners

Four women (Caroline Kamya, Sam Kessie, Alamork Marsha, Rungano Nyoni) were among the twelve African finalists selected to present their film projects at Open Doors (9-12 August) at the 67th edition of the Locarno Film Festival. Rungano Nyoni, won the Open Doors Grant and the Prix ARTE International prize for her feature project “I am not a witch”. Congratulations to Rungano, congratulations to all.

The Open Doors website describes this initiative as follows:

With the support of the Swiss Foreign Ministry’s Agency for Development and Cooperation (SDC), Open Doors aims to support and highlight filmmakers from a region in the world’s South and East where independent cinema is vulnerable. Open Doors encourages the provision of funding for the selected projects, giving their representatives the opportunity to present them to international producers. (http://www.pardolive.ch/en/Pardo-Live/today-at-the-festival/2014/12-finalist-projects-selected-for-open-doors-2014.html NO LONGER ACCESSIBLE)

"Hot Comb", Caroline Kamya (Uganda)

"Unbalanced", Sam Kessie (Ghana)

"Fig Tree", Alamork Marsha (Ethiopia/Israel)

"I am not a witch", Rungano Nyoni (Zambia/France)

Follow link to description of projects: http://www.screendaily.com/festivals/locarno/locarno-2014-open-doors-projects/5075706.article 

Also see:

African women's films at Locarno Open Doors 2014

Women prominently featured at the First Luxor African Film Festival 2012

Women prominently featured at the

First Luxor African Film Festival 2012

The pan-African vision of the first Luxor African Film Festival was omnipresent. Culturally separated from the continent for decades, Egypt’s desire to reunite with Africa was expressed throughout the festival.

Equally visible at the Festival were women in every aspect. On the organisational level, executive director Azza El Hosseiny provided exquisite leadership. Her hope is that the festival will play an important role in making the change that the revolution evoked. Also present in all corners of Luxor was the gaze of the beautifully brown woman featured on the Festival poster.

Thirty countries were represented, and of the forty-one films in competition, eleven were by women. Of the nine films out of competition, one film was woman-directed, The Agenda and I by Neveen Shalabi of Egypt. In the Afro-Cinema Pathway category, three of the fifteen films were made by women, featuring classics such as Senegalese Safi Faye’s 1975 film Peasant Letter, The Night of Truth (2004), the award-winning film by Burkinabè Fanta Nacro, who was also a jury member of the short films selection, and Ugandan Caroline Kamya’s highly-acclaimed Imani (2009), which had its world premiere at the Berlin International Film Festival in 2010. 

Spanning the continent, the films represented every region with a broad spectrum of themes. The selection of films by women, the majority of whom attended, included: 

Long films in competition

Taghreed Elsanhouri  (Sudan) Our Beloved Sudan

Hawa Essuman (Kenya) Soul Boy

Nada Mezni Hafaiedh (Tunisia) Tunisian Stories

Short films in competition

Yaba Badoe  (Ghana) The Witches of Gambaga

Tsitsi Dangarembga (Zimbabwe) Nyami Nyami and the Evil Eggs

Mona Iraki (Egypt) Somalia, the Land of the Evil Spirits

Rina Jooste (South Africa) Captor and Captive

Wanuri Kahiu (Kenya) Pumzi

Annette Kouamba Matondo (Congo-Brazzaville) We don't forget, we forgive

Zipporah Nyaruri (Uganda-Kenya) Zebu and the Photo Fish

Rungano Nyoni (Zambia) Mwanza the great

Other highlights of the festival were the “Main Seminar: Sub-Saharan Cinema” which featured a discussion by Beti Ellerson on African women in cinema, and at the opening and closing of the festival a presentation of students and their work--women students were also well represented.

The Festival closed with a delightful surprise as the two top awards went to women. The Greater Nile Award for Best Film: the Golden Mask of Tutankhamen was awarded to Ghanaian-Kenyan Hawa Essuman for her film Soul Boy and The Special Jury Award: the Silver Mask of Tutankhamen to Taghreed Elsanhouri of Sudan for her film Our Beloved Sudan.

Taghreed Elsanhouri and Hawa Essuman expressed delight in this high honour:

Taghreed Elsanhouri: I am really happy because Egypt is like a second home. I do think that it is a sign that we in North Africa are beginning to recognise our Africanness. We are at the forefront of a paradigm shift.

Hawa Essuman: I feel very humbled and it fortifies my resolve to continue with my work. The festival was very inclusive from the beginning, and was interested in fusing the north-south-west-east divide that plagues our cinema. I hope it will succeed in changing that.


Report by Beti Ellerson


EN FRANÇAIS