Ingrid Agbo : Les Palimpseste - Selection Officielle - Animation - FESPACO 2023

Ingrid Agbo
Les Palimpseste
Selection Officielle - FESPACO 2023

Animation - Series

Description

Iba, Emeka and Mamie Palimpseste only need an old little piece of ancestral kenté in order to discover the illustrious characters that have made their mark in African history!

Iba, Emeka et Mamie Palimpseste n’ont besoin que d’un vieux p’tit bout de kenté ancestral, pour découvrir les illustres personnages qui ont marqué l’histoire africaine ! [https://www.larbreapalimpseste.com/]

Bio

Ingrid Agbo participated in the Durban Talent Campus 2009. In 2017 she created the animation series  L'arbre à Palimseste co-authored with Sacha Perrin-Bayard.

Ingrid Agbo a été participante au Durban Talent Campus 2009. En 2017, elle crée la série d'animation L'arbre à Palimseste, dont elle est co-auteure avec Sacha Perrin-Bayard. (Source: africine.org) 

Association des Femmes du Cinéma et de l'Audiovisuel au Togo (Afeciat) - Rencontre de partage des femmes cinéastes | A sharing space for women filmmakers 23 Dec 2022

Association des Femmes du Cinéma et de l'Audiovisuel au Togo (Afeciat)

Women's Association of Cinema and Audiovisual of Togo.

 Rencontre de partage des femmes cinéastes

A sharing space for women filmmakers

23 Dec 2022

Plate-forme des actualités de l'Association des Femmes du Cinéma et de l'Audiovisuel au Togo. C'est un creuset de talents, rêves et visions afin de affirmer dans l'industrie cinématographique naissante du pays.

A platform of current events of the Women's Association of Cinema and Audiovisual of Togo. It's a melting pot of talent, dreams and visions affirming the country's evolving film industry.

Essodong Elisabeth Lemou: Ménézé/Ma Grand-mère - Vues d'Afrique 2022

 

Vues d'Afrique

Essodong Elisabeth Lemou

Ménézé/Ma Grand-mère
Togo
2021 - 13min - Fiction

Synopsis
For some time, Ménézé sees in her dreams her paternal grandmother who is in distress. Against the advice of her father, who feels a fierce hatred towards her and who he accuses of witchcraft, Ménézé goes to the village to see her grandmother. She is far from imagining the welcome that awaits her.

Depuis quelques temps Ménézé voit dans ses rêves sa grand-mère paternelle qui est en grande difficulté. Contre l’avis de son père qui voue une haine envers cette dernière, l’accusant de sorcellerie, Ménézé se rend au village pour voir sa grand-mère. Elle est loin d’imaginer l’accueil qui l’attend.

Bio
Essodong Elisabeth Lemou, born in Lomé, attended the l’École supérieure des études cinématographique at Lomé and in 2014 she received her diploma in directing.

Essodong Elisabeth Lemou, née à Lomé s'inscrite à l’École supérieure des études cinématographique à Lomé et en 2015 fais sa Licence option réalisation.



 

Ingrid Agbo: Akplokplobito - FESPACO 2021

FESPACO 2021
Films d'Animation | Animation Films in competition

First prize for best animation film | Premier prix du meilleur film d'animation

Ingrid Agbo

Akplokplobito
Togo
Animation

Synopsis
In a lively district, with peaceful appearances, tinged with a warm atmosphere which makes it so charming; in this neighborhood, when you look closer, behind its colorful, welcoming and tidy houses, behind these thick walls, meant to protect, meant to ward off danger; behind these walls, firmly grounded, and bearers of secrets, we discover the sordid story of a little girl, Akplokplobito, who endures the insurmountable.

Dans un quartier vivant, aux apparences paisibles, teinté d’une atmosphère chaleureuse qui fait son charme ; dans ce quartier, à y regarder de plus près, derrière ses maisons colorées, accueillantes et bien rangées, derrière ces murs épais, destinés à protéger, destinés à éloigner le danger ; derrière ces murs solidement ancrés et porteurs de secrets, on découvre l’histoire sordide d’une petite fille, Akplokplobito, qui endure l’insurmontable.

Source: https://fifp.fr/portfolio/akplokplobito/

Bio

Director. Screenwriter. Producer.
Réalisatrice. Scénariste. Productrice

 

Togolese Women in Cinema, Visual Media and Screen Culture

Togolese Women in Cinema, Visual Media and Screen Culture

"I have always been interested in women's discourse, because I think it is an alternative discourse.  I have always treated my themes from the perspective of women."--Anne-Laure Folly Reimann

The creation of the Lomé-based African Film Festival of Women Filmmakers (Festival Africain des Films de Femmes Cinéastes (FAFFCI)) in 2018 offered an environment for the promotion and empowerment of Togolese women in cinema on a national level, thus providing a structure for the cultural work by women filmmakers that has spanned several decades. The first edition of the festival activities included conferences, panels, consciousness raising sessions, a contest of documentary and fiction films made by all-women film crews, and a Masterclass entitled: “Mentoring women filmmakers for the advancement of the industry.” Similar to other women's film festivals throughout the continent, the festival is an essential structure for networking and building environments for women's empowerment.

Since the 1990s international lawyer-filmmaker-activist Anne-Laure Folly-Reimann has been actively involved in the organization and development of African cinema culture at the continental and international levels. Sitou Ayité, critique, producer, scriptwriter and filmmaker, wears many hats in Togolese film culture. Since 2009 founder Christelle Aquéréburu is also director of the Togolese film school Ecran, laying the groundwork for the formation of a cadre of audio-visual professionals. Since 2010, Juliette Akouvi Founou oversees the many activities of the Association Togolaise du Cinéma Numérique Ambulant (ATCNA), as president of the digital mobile cinema association. In April 2021 ATCNA launched a call for candidates for a writing residency for short films targeting young francophone women creatives-filmmakers, under the theme "The Woman in Contemporary Africa. This initiative reinforces the long-standing objective of African women stakeholders in cinema: to empower women through training and mentoring.

Author-filmmaker Gentille M. Assih's film Into the Light, about domestic violence, highlights the liberating life stories of Quebecois women of West African origin. Berlin-based German-Togolese Ines Johnson Spain focuses her camera on her personal story. In Becoming Black a girl discovers her true identity, that of a mixed race adolescent.

In addition to an interest in producing realistic stories about everyday African experiences to present to the African public, Angela Aquéréburu wants also to distribute her films more broadly in order to make them visible on the international scene. She explains in ForbesAfrica: "To make content exportable, you need a universal story, good actors, beautiful images, good music and to respect international broadcast codes.” She co-founded the Lomé-based Yobo Studios to provide original and exportable programs and bring a different perspective regarding Africa.

Jahëna Louisin, who holds a Masters in International Relations and Political Science, is a journalist reporter of the visual image for local production companies and international televisions and has lived in Togo since a child. Behind her camera, she immortalizes life stories drawing inspiration from daily life, both tender and harsh, to imagine human stories with universal appeal.

These Togolese 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:

Gentille M. Assih: Into the Light
https://africanwomenincinema.blogspot.com/2021/04/vues-dafrique-2021-gentille-m-assih.html

La femme dans l'Afrique Moderne - CNA Cinéma Numérique Ambulant TOGO  | The Woman in Contemporary Africa
https://africanwomenincinema.blogspot.com/2021/04/la-femme-dans-lafrique-moderne-cna.html

Festival Films Femmes Afrique 2020 - Jahëna Louisin : 28 jours (28 days)
https://africanwomenincinema.blogspot.com/2020/02/festival-films-femmes-afrique-2020_71.html

Ines Johnson Spain: Becoming Black
https://africanwomenincinema.blogspot.com/2020/12/ines-johnson-spain-becoming-black.html

Festival Africain des Films de Femmes Cinéastes (FAFFCI) | African Film Festival of Women Filmmakers - 2018 (Togo)
https://africanwomenincinema.blogspot.com/2018/03/festival-africain-des-films-de-femmes.html

Angela Aquereburu : Producing realistic, original, universal African stories | Produire des histories africaines authentiques, originales, universelles
https://africanwomenincinema.blogspot.com/2017/10/angela-aquereburu-producing-realistic.html

Christelle Aquéréburu, Directrice de l’ECRAN - Ecole de cinéma au Togo | Director of ECRAN film school in Togo
https://africanwomenincinema.blogspot.com/2014/04/christelle-aquereburu-directrice-de.html

Angéla Aquereburu lance une campagne de crowdfunding sur Indiegogo pour la série "Palabres" | Angéla Aquereburu launchs a crowfunding campaign on Indiegogo for the "Palabres" series
https://africanwomenincinema.blogspot.com/2014/03/angela-aquereburu-lance-une-campagne-de.html

Juliette Akouvi Founou : "The CNA Togo is in its launching phase"
https://africanwomenincinema.blogspot.com/2013/05/juliette-akouvi-founou-cna-togo-is-in.html

Anne-Laure Folly: African women's voices as alternative discourse. Reflections on the film "Les Oubliées"
https://africanwomenincinema.blogspot.com/2010/07/anne-laure-folly-les-oubliees.html

A Conversation with Angéla Aquereburu
https://africanwomenincinema.blogspot.com/2010/05/conversation-with-angela-aquereburu.html

La femme dans l'Afrique Moderne - CNA Cinéma Numérique Ambulant TOGO - Appel à candidature pour une résidence d'Écriture de Courts métrages | The Woman in Contemporary Africa. Call for candidates

APPEL À PROJETS - ATCNA

L'Association Togolaise du Cinéma Numérique Ambulant (ATCNA) lance un appel à candidature pour une résidence d'Écriture de Courts métrages destinée aux jeunes femmes Auteures-Réalisatrices francophones

 

The Togolese Association of CNA (Mobile Digital Cinema) launches a call for candidates for a writing residency for short films targeting young francophone women creatives-filmmakers

 

Envoyez les dossiers d'inscription à l'adresse : atcnatogo@gmail.com

 

See English translation below for informational purposes

 

- Pays concernés : Bénin , Burkina-Faso, Cameroun, Côte d'Ivoire, Gabon, Niger, Sénégal, Togo
- Age des Candidates : 18 - 25 ans
- Thème des films de collection : Les scénarios doivent raconter des histoires sur  *LA FEMME DANS L'AFRIQUE MODERNE*
- Dates des inscriptions : 01 au 30 avril 2021

- Dates de la résidence : 01 au 21 juin 2021
- Envoyez les dossiers d'inscription à l'adresse : atcnatogo@gmail.com
avec l'objet "AFRIQUE EN VUES"
NB :  Les projets de films inscrits ne doivent pas avoir de producteurs

***

Call for projects - ATCNA : As the call for projects is for Francophone African countries, the English translation is for informational purposes.
The Togolese Association of CNA (Mobile Digital Cinema) launches a call for candidates for a writing residency for short films targeting young francophone women creators-filmmakers.
Participating countries  : Bénin , Burkina-Faso, Cameroun, Côte d'Ivoire, Gabon, Niger, Sénégal, Togo
- Age of Candidates : 18 - 25 years-old
- Theme of films for the collection : The scripts must tell the stories of : The Woman in Contemporary Africa
- Application dates : 01 to 30 April 2021

- Residency dates : 01 to 21 June 2021

The film projects should not already have producers

 

Vues d'Afrique 2021. Gentille M Assih : Sortir de l’ombre | Into the Light (Togo)

Vues d'Afrique 2021

vuesdafrique.org/

Gentille M Assih

Sortir de l’ombre | Into the Light  

Gentille M Assih

Sortir de l’ombre | Into the Light 

Togo/ Canada


2020 - Documentary - 79min

Image: ONF/NFB

Synopsis

Through the strength of women's voices taking power over their lives after suffering from domestic violence, Into the Light highlights the liberating life stories of Quebecois women of West African origin. Beyond prejudices, the film breaks taboos by giving access to a private universe that is little understood, and testifies to the tremendous empowerment that comes with the end of isolation and the beginning of self acceptance. A luminous dive into the heart of a quest towards personal healing, of a universal humanity. This is the third documentary by the Togolese filmmaker. [https://www.onf.ca/cineastes/gentille-m-assih/]

 

Par la force de la parole de femmes reprenant le pouvoir sur leur vie après avoir subi de la violence conjugale, « Sortir de l’ombre » braque la lumière sur les récits de vie émancipateurs de Québécoises inspirantes originaires d’Afrique de l’Ouest. Loin des préjugés, le film brise les tabous en donnant accès à un univers intime méconnu, et témoigne du formidable sentiment de puissance que provoquent la fin de l’isolement et l’acceptation de soi. Une plongée lumineuse au cœur d’une quête de guérison personnelle, d’une humanité universelle. Il s’agit du troisième documentaire de la réalisatrice d’origine togolaise. [https://www.onf.ca/cineastes/gentille-m-assih/]

Bio

 
Author-filmmaker Gentille M. Assih pursued a university education in communication, followed by human resources management, before studying writing and directing creative documentaries. She obtained a master's degree in cinema from UQAM in 2013. In 2009, she directed her first documentary film, Itchombi, produced by Ardèche Images Production. The same year, she produced and directed the short fiction film Bidenam, l’espoir d’un village, with the support of the Goethe-Institut in Johannesburg (Jury Prize at the Vues d'Afrique International Film Festival, Montreal) . In 2010, she completed the documentary Akpéma, which lays the groundwork for the film Le rite, la folle et moi, a story of transmission of a family secret, in which she reveals the weight of traditions and the complexity of African cultures. Released in 2012, Le rite, la folle et moi, among other honors, won the Audience Award for best documentary film at the Cinémas d'Afrique festival in Angers (France). Privileging the personal, her work boldly tackles taboo issues that she does not hesitate to name and tell. While her camera focuses its lens unflinchingly on social issues and ills her writing conveys her resolutely positive vision of the human being. [Vues d'Afrique. Translation from French]

Autrice-réalisatrice, Gentille M. Assih suit une formation universitaire en communication, puis en gestion des ressources humaines, avant d’étudier en écriture et en réalisation de documentaires de création. Elle obtient une maîtrise en cinéma à l’UQAM en 2013. Elle réalise en 2009 son premier film documentaire, « Itchombi », produit par Ardèche Images Production. La même année, elle produit et réalise le court métrage de fiction « Bidenam », l’espoir d’un village, avec le soutien du Goethe-Institut de Johannesburg (Prix du jury du Festival international de cinéma Vues d’Afrique, Montréal). En 2010, elle signe le documentaire « Akpéma », qui jette les bases du film « Le rite, la folle et moi », une histoire de transmission d’un secret de famille, où elle révèle le poids des traditions et la complexité des cultures africaines. Sorti en 2012, « Le rite, la folle et moi » remporte, en plus de plusieurs honneurs, le Prix du public du meilleur film documentaire au festival Cinémas d’Afrique d’Angers (France). Privilégiant le registre de l’intime, son œuvre aborde avec audace des enjeux tabous qu’elle n’hésite pas à nommer et à raconter. Si sa caméra braque sans concession son objectif sur les problématiques et les maux sociaux, sa plume tout en sensibilité traduit sa vision résolument positive de l’humain. [Vues d'Afrique]

https://vimeo.com/477681073

 

Sortir de l’ombre - (Bande-annonce 01m30s) from NFB/marketing on Vimeo.

Film Africa. Ines Johnson-Spain: Becoming Black

Ines Johnson-Spain

Becoming Black

Togo/Germany

Documentary - 2019 - 91min

Source: https://becomingblack.de/

Image: idfa

Film Africa: Director's Intro [https://vimeo.com/476255772]

Synopsis

A white couple living in the German Democratic Republic in the 1960s, tells their Black child that her skin color is purely by chance and has no meaning. This is also what the girl prefers to believe, until she accidentally discovers the truth as a teenager.

Bio

Ines Johnson-Spain is an independent German/Togolese filmmaker based in Berlin.
She studied Scienes of Religions at Freie Universität Berlin (FU) and was a guest student for Fine Arts and Painting at University of Arts Berlin.

She worked for many years as a scenic painter and in various positions of the art departments of national and international filmproductions. (e.g. Peter Greenaway The Tulse Luper Suitcases, Anders Thomas Jensen Men and Chicken, Lana Wachowsky Sense8, Andrej Swjaginzew Die Verbannung).

 

 

Festival Films Femmes Afrique 2020 - Jahëna Louisin : 28 jours (28 days)

Films Femmes Afrique

Jahëna Louisin

28 jours (28 days)

Togo - 2019 - 10 min - Fiction

Courts-métrages hors compétition |

Short films out of competition 

Synopsis

Le jeune Edem élève seul Pépé, sa fille âgée de 11 ans depuis le décès brutal de sa femme.  Père et fille arrivent difficilement à retrouver un équilibre à deux sans la présence de leur pilier commun ; mais un événement dans la vie de la petite fille va bousculer leurs rapports…

The young Edem raises his 11-year-old daughter Pépé alone since the sudden death of his wife. The father-daughter duo struggle to find a balance without the presence of their common pillar; but an event in the little girl's life will shake up their relationships…

Biographie | Biography

Diplômée d’un Master en Relations Internationales et Sciences Politiques, Jahëna Louisin est une journaliste reporter d’images pour le compte des boites de production locales et de télévisions internationales ; Installée depuis son enfance au Togo, elle est habituée à immortaliser des histoires de vie derrière sa caméra en s’inspirant de ce quotidien, parfois tendre, parfois dur, pour imaginer des trajectoires humaines aux retentissements universels.

Jahëna Louisin, who holds a Masters in International Relations and Political Science, is a journalist reporter of the visual image for local production companies and international televisions and has lived in Togo since a child. Behind her camera, she immortalizes life stories drawing inspiration from daily life, both tender and harsh, to imagine human stories with universal appeal.

Egbe Nana Series with/avec Angela Aquereburu (Togo)

Egbe Nana Series with/avec Angela Aquereburu (Togo)

 

27 May 2019

Source: YouTube [https://www.youtube.com/watch?v=aRkyZMZwcIY]

Egbe Nana: Nous vous emmenons découvrir une femme épatante. Authentique de par son look et d’une simplicité assez remarquable. Angela AQUEREBURU, puisque c’est d’elle qu’il s’agit, marque de manière indélébile le cinéma togolais. Elle est réalisatrice de séries télé et Directrice de YOBO STUDIOS.

Egbe Nana: In this episode you will discover an amazing woman. She is authentic, with quite remarkable simplicity. Angela AQUEREBURU, who is featured here, has made an indelible mark on Togolese cinema. She directs TV series and is Director of YOBO STUDIOS.

Festival Africain des Films de Femmes Cinéastes (FAFFCI) | African Film Festival of Women Filmmakers - 2018 (Togo)

Festival Africain des Films de Femmes Cinéastes (FAFFCI) 

African Film Festival of Women Filmmakers 

The first edition of the Festival Africain des Films de Femmes Cinéastes | African Film Festival of Women Cineastes is being held in Lome and Agbodrafo, Togo from 10 to 20 March 2018. 

La première édition du Festival Africain des Films de Femmes Cinéastes se déroule du 10 au 20 mars 2018 à Lomé et Agbodrafo au Togo.

[English]

For this first edition a variety of activities are organised: Conferences, panels, consciousness raising sessions, a contest of documentary and fiction films made by all-women film crews, Masterclass entitled: “Mentoring women filmmakers for the advancement of the industry.” 

A key objective is to promote female leadership in cinema. Sonia Larissa Allaglo, head of the organising committee had this to say about the goals of the festival: 

"We want to involve women in the festivities of La Francophonie Day, to create and organise tutorials and support systems among established women filmmakers and newcomers in the field. 

[Français]

Pour cette première édition, des conférences débats sont organisées. Il est également prévu des séances de sensibilisation. Des masters class sur les conditions des femmes dans l’espace cinématographique vont être animés par des spécialistes. Le festival organise surtout un concours de films documentaires et de films fictions. La compétition met l’accent sur les films tournés par des équipes techniques essentiellement féminines, le lancement d’une collaboration entre les femmes cinéastes avancées et les débutantes et le démarrage d’un projet intitulé : Encadrement des Femmes Cinéastes pour la Promotion de l’Industrie.

Promouvoir le leadership féminin dans le cinéma

Le festival africain des films de femmes cinéastes permet d’améliorer la performance des femmes cinéastes et techniciennes. Les participantes échangent aussi sur le métier du cinéma et la promotion du leadership féminin dans les activités des femmes cinéastes.

Le FAFFCI permet également de célébrer « le mois de la femme avec une implication active des femmes cinéastes ». « Nous voulons impliquer les femmes aux festivités de la journée de la francophonie, créer et organiser les tutorats et le système d’appui entre les femmes cinéastes qui ont fait leurs preuves de même que les débutantes », affirme Sonia Larissa Allaglo, responsable du comité d’organisation.

Source:

Première édition du FAFFCI au Togo : L’association PIAC innove dans le 7ème art

http://africacultures.com/2018/02/20/premiere-edition-du-faffci-au-togo-lassociation-piac-innove-dans-le-7eme-art/

Le Togo accueille le premier festival des films de femmes cinéastes

https://www.africatopsuccess.com/2018/03/11/le-togo-accueille-le-premier-festival-des-films-de-femmes-cineastes/

Togo : la première édition du Festival africain des films de femmes cinéastes prévue en mars à Lomé

http://news.alome.com/h/106798.html

Togo : Un festival pour valoriser les femmes cinéastes

https://www.lomeinfos.com/2018/02/togo-un-festival-pour-valoriser-les-femmes-cineastes/

Les femmes cinéastes du monde se donnent rendez-vous en mars à Lomé pour la 1ère édition du FAFFCI

https://www.agenceecofin.com/audiovisuel/1302-54325-les-femmes-cineastes-du-monde-se-donnent-rendez-vous-en-mars-a-lome-pour-la-1ere-edition-du-faffci

Des femmes cinéastes du monde entier se donnent rendez-vous au Togo pour un grand festival, une première

http://togotopnews.com/index.php/art-culture/item/865-des-femmes-cineastes-du-monde-entier-se-donnent-rendez-vous-au-togo-pour-un-grand-festival-une-premiere

Angela Aquereburu : Producing realistic, original, universal African stories | Produire des histories africaines authentiques, originales, universelles

Image: YouTube - Africa Salons

Angela Aquereburu : Producing realistic, original, universal African stories | Produire des histories africaines authentiques, originales, universelles 

English [Français ci-après]

Angela Aquereburu and her partner Jean-Luc Rabatel, who are based in Lomé, Togo, wear many hats: scriptwriting, directing, producing, distributing… They founded the audio-visual production company, Yobo Studios (originally Caring International) in 2009, which specialises in fiction with a focus on short-format mini-series. It was Angela’s father, an older-timer of Togolese television, who suggested to the couple to bring their content to the local scene, in order to give a much-needed change from the telenovelas and American sitcoms that inundated the Togolese channels. Moreover, she stresses the importance of audiovisual programming as a vital tool to transmit strong messages regarding health, ecology and democracy to the general public. 

As an objective of Yobo Studios is to provide original and exportable programmes and bring a different perspective regarding Africa, Angela and Jean-Luc have worked with DISCOP Africa, whose platform has become an integral part of Yobo Studios’ goals. As its website indicates, “DISCOP markets help entertainment content producers, sellers and buyers connect, build relationships, pitch projects and make deals in Africa and the Middle East.” In an interview with Africa Salons at the closing of DISCOP Abidjan 2016, Angela recalls that around ten years ago the audio-visual sector in African was hard hit and to have content visibility was difficult. She notes for instance, that because of the high cost of transportation, to meet people from South Africa, Cameroon and elsewhere was a bit difficult. Hence, with DISCOP there was an opportunity to bring together professionals—audio-visual producer, cable operator, television distributor—to network throughout Africa.

Yobo Studios’ early success, the fiction mini-series Zem, has led to others, notably, the recently produced Hospital IT, a medical dramedy produced in 2017. There are several projects on the horizon: a television programme devoted to women, a feature film with a woman protagonist, an English-language film, among others.

In addition to an interest in producing realistic stories about everyday African experiences to present to the African public, Angela wants also to distribute her films more broadly in order to make them visible on the international scene. She explains in ForbesAfrica: "To make content exportable, you need a universal story, good actors, beautiful images, good music and to respect international broadcast codes.”

English text is drawn from French-language sources below.

Français : Cet article s’est appuyé sur les sources suivants :

Interview Angela Aquereburu (Yobo Studios) lors du salon Discop - par Africa Salons

Togo - Yobo Studios: fournir des programmes originaux et exportables – appel à partenaires. Balancing-act

TV : ‘Hospital IT’, série hospitalière en Afrique (par Côte Ouest) Production Audiovisuel. Balancing-act

Portrait: Angela Aquereburu, producer of successive series. ForbesAfrique

Angela Aquereburu : Portrait d’une productrice de séries émergente

Interview Angela Aquereburu (Yobo Studios) lors du salon Discop - par Africa Salons

LINKS | LIENS

A Conversation with Angéla Aquereburu

La Parole à Angéla Aquereburu

Christelle Aquéréburu, Directrice de l’ECRAN - Ecole de cinéma au Togo | Director of ECRAN film school in Togo

Christelle Aquéréburu, Directrice de l’ECRAN - Ecole de cinéma au Togo | Director of ECRAN film school in Togo

Source & Photo: focusinfos.net. Translation from French by Beti Ellerson

[English]

During Women’s History Month in March several activities highlighting women took place on March 8, International Women's Day. For this occasion, the journal Focus Infos put the spotlight on six exceptional women who excel in their respective fields. One of the women featured, Christelle Aquéréburu, is Director of the film school Ecran.

“While there are some who stay in their beds to continue to dream, there are those who wake up to fulfil those dreams"

Married with three children, Christelle Aquéréburu is without doubt the torchbearer of the audio-visual sector and Togolese cinema. Veteran of a multinational maritime, she abandoned this prominent post to pursue a passion that had already preoccupied her since she was a child: cinema.

Convinced that self-employment remains one of the solutions to the growing problem of unemployment, she devoted her time to creating a school for training those interested in the field of cinema and audio-visual, a budding but promising sector, which offers enormous opportunities to ambitious, talented young people.

Her school aims to train in "...audio-visual professions that at present, continue to offer to people of all ages, a real chance to succeed in a context where the labour market is becoming increasingly competitive and demanding..."

Since its inception in 2009, the school has trained more than a hundred students, all currently working in the field"...My former students have become my best partners with whom I do co-productions; this is simply fantastic and it is one of the wonders of the world of cinema!"

To date, Christelle Aquéréburu school has made more than twenty films and documentaries, including Sara, directed by the young Togolese Essi Névamé Akpandza, which was nominated in the School Films Category at FESPACO 2013. This was a first for Togolese cinema, which had never had this honour before!

Christelle is also director of the audio-visual production company African Dreams, which has produced the internationally-celebrated reality show Comme une Star | Like a Star.

She draws a lot from the everyday life around her to help her students to develop and write scripts, because she believes that "the imagination is a magical act."

When asked how she explains her success, she replied with a gracious smile: "... “While there are some who stay in their beds to continue to dream, there are those who wake up to fulfil those dreams". I...did not know that it was impossible, that is why I made it.

Comme une star! | Like a Star

10 young women of several nationalities who dream of a career in cinema and show business come together in a villa for 6 weeks during a contest. The jury is the reality television audience who vote by SMS.

See Facebook page: https://www.facebook.com/pages/Comme-une-star-Saison-2/105726529461720 

[Français]

Christelle Aquéréburu, Directrice de l’ECRAN - Ecole de cinéma au Togo 

Considéré comme mois de la femme, mars voit l’organisation de plusieurs activités en faveur de la gente féminine dont le clou se déroule le 8 mars décrété comme journée internationale de la femme. A cette occasion, votre journal Focus Infos a décidé de faire sortir de l’ombre six femmes d’exception qui quotidiennement se battent dans leurs domaines respectifs. Allons à la découverte de ces femmes…

Christelle AQUÉRÉBURU : Directrice de l’Ecole de cinéma ECRAN

« Il y a ceux qui rêvent et se prélassent dans leur lit pour continuer leur rêve et il y a ceux qui se réveillent pour le réaliser »

Mariée et mère de trois enfants, Christelle Aquéréburu est incontestablement le porte-flambeau du secteur de l’audiovisuel et du cinéma togolais. Cette ancienne cadre d’une multinationale maritime, a abandonné le prestige des bureaux feutrés pour se consacrer à une passion qui la hantait déjà toute petite : le cinéma. À LIRE DANS SON INTÉGRALITÉ @ focusinfos.net 

Comme une star!

10 filles issues de plusieurs nationalités qui rêvent de faire carrière dans le cinéma et le show biz sont réunies dans une villa pendant 6 semaines pour une compétition. Le jury c'est les téléspectateurs qui votent par SMS!

Voir Facebook page: https://www.facebook.com/pages/Comme-une-star-Saison-2/105726529461720

ECRAN PROMO @ YOUTUBE

 

Angéla Aquereburu lance une campagne de crowdfunding sur Indiegogo pour la série "Palabres" | Angéla Aquereburu launchs a crowfunding campaign on Indiegogo for the "Palabres" series

La réalisatrice/productrice Angéla Aquereburu a lancé une campagne de crowdfunding sur Indiegogo pour continuer la production de la série “Palabres”.

Togolese filmmaker/producer Angéla Aquereburu has launched a crowfunding campaign on Indiegogo to assist in the continuation of Palabres series.

Bref résumé

Nous voulons non seulement répondre à une attente des téléspectateurs africains en leur donnant accès à un contenu premium identitaire et communautaire, mais aussi faire découvrir au reste du monde, avec humour, la richesse et la pluralité de la culture africaine.

Palabres est un concept de série TV, d’environ cinq minutes (3 sketchs), dont le propos est d'établir un dialogue humoristique entre une femme, Dior, son compagnon Alfa, sa sœur Lydia et Vivien, le meilleur ami d’Alfa. D’autres personnages comme la bonne, Colombes et Perpétue l’homme à tout faire, apparaitront dans quelques épisodes. 

Summary

Palabres offers the African viewer as well as the rest of the world a programme with a sense of identity and community. A programme "made in Africa" produced to the highest broadcasting standards, full of humour and richness reflecting the plurality of African cultures. 

Palabres is a 5 minutes series (3 sketches) which aims to create humorous dialogue and exchange among the characters: Dior, her partner Alfa, her sister Lydia and Vivien, Alfa's best friend. Some other characters such as the maid, Colombes or Perpetue the handyman, would appear in a few sketches.

For more information on the Indiegogo campaign and to make a contribution: http://www.indiegogo.com/projects/palabres

Pour rejoindre la compagne Indiegogo et la soutenir:
http://www.indiegogo.com/projects/palabres

Link to Interview on African Women in Cinema Blog:

http://africanwomenincinema.blogspot.com/2010/05/conversation-with-angela-aquereburu.html

Lien à l'entretien sur le Blog de la femme africaine dans le cinéma:

http://africanwomenincinema.blogspot.com/2010/05/la-parole-angela-aquereburu.html 

Juliette Akouvi Founou : "The CNA Togo is in its launching phase" | «Le CNA Togo est à sa phase de décollage»

Juliette Akouvi Founou : The CNA Togo is in its launching phase

Image and Text Source: CNA.ORG. [http://www.c-n-a.org/cna-togo-actualites.php#togo1]

Translation from French by Beti Ellerson

The president of L'Association Togolaise du Cinéma Numérique Ambulant (ATCNA), the Togolese association of mobile digital cinema talks about the 31 May event, which is a gala evening highlighting the association's activities.

You are organising a CNA Togo event on 31 May, what does it entail? 

It involves a review of the activities of CNA Togo which has three components: a photo exhibition of the activities; a screening of short films about CNA Togo and the screening of the fiction film by Abalo Kilizou entitled, Venu de France (Coming from France). The purpose is to promote a Togolese film, and African cinema in general, which is the objective of the CNA associations.

This event is organised in partnership with the French Embassy and the French Institute of Togo. How did this partnership evolve?

Recently the CNA Togo started film screenings in remote areas of the city of Lomé without any partnership funding. When the cultural departments of the French Embassy and the French Institute noticed the work we were doing at these locations, and after several meetings, we decided to collaborate in organising an evening of activities.

What would the CNA Togo like to achieve with this event?

We would like to let the public know about the wonderful things we are daring to do with cinema as a means to entertain, educate and raise the consciousness of the population in order to contribute to the development of Togo. 

How would you assess the operations of CNA Togo?

The CNA Togo was actually created in 2012. We launched our activities in February 2012 in conjunction with the Cinéma Itinérant du Togo (CIT), (the Traveling Cinema of Togo) directed by Jacques Do Kokou.  The Association became a legal entity at the end of the year in December 2012. The CNA Togo is still in its launching phase. In other words, there is not yet funding support and therefore it continues to reach out to partners. In order to achieve this we have put out a call to cultural stakeholders to embrace the efforts of CNA Togo to involve the population by entertaining, communicating, educating and building awareness through cinema.

Association Togolaise du Cinéma Numérique Ambulant (ATCNA)

Juliette Akouvi Founou, President

Also of interest on the African Women in Cinema Blog:

Rosalie Ndah, president of CNA Afrique talks about the CNA tribute to women at Fespaco 2013

http://africanwomenincinema.blogspot.com/2013/02/rosalie-ndah-president-of-cna-afrique.html

Juliette Akouvi Founou «Le CNA Togo est à sa phase de décollage»

La présidente du CNA Togo parle de la grande soirée de présentation des activités de l’association le 31 mai à Lomé.

Vous organisez une présentation du CNA Togo le 31 mai. De quoi s'agit-il?

Il s'agit de faire un bilan des activités du Cinéma Numérique Ambulant Togo le soir du vendredi 31 mai à partir de 18 heures au Grand Rex à Lomé. La soirée va se dérouler en trois phases : 1- une exposition des photos des activités ; 2- la projection d'un court-métrage sur le CNA Togo et 3- la projection d'un film de fiction intitulé « Venu de France » du réalisateur togolais Abalo Kilizou. Le but est de promouvoir un film togolais et au-delà, le cinéma africain car c'est la première préoccupation de tous les CNA. 

À LIRE DANS SON INTÉGRALITÉ : http://www.c-n-a.org/cna-togo-actualites.php#togo1

Image Source : CNA.ORG

À lire aussi : Le CNA célèbre les femmes du Fespaco 2013 : Rosalie Ndah, présidente du CNA Afrique nous en parle 

Anne-Laure Folly: African Women's Voices as Alternative Discourse. Reflections on the film Les Oubliées

Anne-Laure Folly: African women's voices as alternative discourse. Reflections on the film Les Oubliées

From the African Women in Cinema Archives

Anne-Laure Folly
Togo
Les Oubliées
Documentary - 1996 - 53min

Excerpts from interview with Anne Laure Folly, held at the 15th FESPACO, February 1997, Ouagadougou, Burkina Faso. First published in Sisters of the Screen: Women of Africa on Film, Video and Television. Beti Ellerson (Africa World Press, 2000).

"I have always been interested in women's discourse, because I think it is an alternative discourse.  I have always treated my themes from the perspective of women."

"Initially the idea was to talk about war, to make a plea for peace.  In analyzing situations of extreme war, I had a choice because there are many extreme situations throughout the world.  I chose one of the longest wars of the century, the war in Angola.  It has lasted thirty years, for the last thirty years: the people have been fighting.  The purpose was to have an alternative discourse, one that was not simply based on the reasons for war—which always seem to be legitimate; nor one that is filled with dates or simple facts."

"I tried rather to treat the problem of war from the women's perspectives.  Their perspective does not simply analyze things; they live them.  That is what I proposed as my initial premise, and it was filmed along that line.  In fact, the women that I encountered told me things about the history of the country that had nothing at all to do with what we know of the history of their country."

"It is not only about women, it is a plea for peace, and I treated war not through the ordinary perspective that we have about the facts and events, the battles and territorial gains, but rather from a perspective that is specific.  Women have a different perspective about this history, especially of a war that has lasted more than thirty years.  They experienced the war based on personal suffering, having lost people they know, and sensing the impossibility of being able to provide a future.  They live this history from another point of reference and I found this interesting."

"I decided to not approach this plea for peace from an intellectual level, because we are all for peace.  I wanted to hear it from people who spoke from the guts about their fears.  We respond more radically for peace, but within the reflection, "really this violence has to stop."  The film comes more so from the guts, reason should not be the basis for bringing up the problems of the world, because reason is not sufficient to change things."

[Why the topic on the war in Angola?]  "It is an exemplary war, not only for Africa but also for the world. It is nearly the longest war of the century; it has lasted for the last thirty years. There is an entire generation, which only knows extreme violence.  There are people who live in a world where morals do not exist, where in the absence of morals the only rule is: To survive you must kill. I also find it interesting because it was a war that took all forms.  Initially it was a war to end colonization and then an East-West conflict involving Cuba and South Africa, and afterwards a civil war.  Perhaps there were several motives for the war but, nonetheless, it continued to be one group fighting against another, which leads one to believe that the motive had only one interest at stake, which was war itself."

"I think that [women] bring another discourse, I am not saying that women view the world differently, but they do not have the same social function in society. The women in the countries where there is war are all victims. They participate in the war to assist in the survival of their children, sons, and husbands, but that is all, and then they lose them. Yet, they do not actually participate. In the film, there was a woman who said, "One day I was in the war zone and I saw the Cubans coming." This was an amazing image of a woman who did not know what was going on. She has been wandering around the country for the past ten years. I think these perspectives bring about another appreciation of the world, of values, and I am always for another discourse."

At the press conference for Les Oubliées:

Sarah Maldoror speaks from audience: "The first point that I want to make to Anne-Laure Folly is that your film is outstanding, it is fantastic. Because you are a woman, you have the respect for life, because you have courage.  You could have been blown up a hundred times in those mines, but you were not, thank God.  I think that you had courage to do this film.  And it is very well done, and it gives one something to think about.  And that these women who fight and suffer, who are hungry, could actually do a theatrical play, I find extraordinary.  I regret that there are not more women who can be here to participate in this peace effort.  Because if we women do not do it, it will not be the other African filmmakers, who, alas, are not at this conference…"

Anne-Laure Folly: "I would like first to thank Sarah, she inspired me to do this film.  She did 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 Angolan war interpreted from the perspective of a woman.  Mine is not a pioneering approach; she has already done that."

Sarah Maldoror ou la nostalgie de l’utopie

Sarah Maldoror ou la nostalgie de l’utopie is Anne-Laure Folly’s tribute to her mentor: Sarah Maldoror’s enduring political struggle for the freedom of all people, her affirmation of her négritude and the recognition of black poets and artists, permeates her work.

Anne-Laure Folly Reimann

Anne-Laure Folly, who studied law at the University of Paris II-Panthéon-Assas in Paris, worked for a long time as a legal adviser for UNESCO. She began making films in the early 1990s, her work strongly inspired by Sarah Maldoror, as well as Safi Faye. Anne-Laure Folly has shared her time between cinema and a career as an international lawyer specializing in issues concerning Africa. She has directed twenty documentaries with a focus on socio-political issues in Africa. She was elected to the office of FEPACI, the Pan-African Federation of Filmmakers in 1997 and in 2006, until 2013 she was the regional secretary.

A Conversation with Angéla Aquereburu | La Parole à Angéla Aquereburu

(photo credit: Alexandre Ouya)

A Conversation with Angéla Aquereburu |

La Parole à Angéla Aquereburu

Version française ci-apres

Angéla, perhaps you could begin by talking about your “multiple identities”, if I may use this term, and how these identities have influenced you and your work.

In fact, my mother is Guadeloupean and my father is Togolese. I have lived in France for 15 years. I think that my diverse education has allowed me to develop a certain rigor, openness, and thirst for originality.

Your company, Caring International, well, the name is interesting. When was it founded and what are its objectives?

The company was created a year ago, in 2009. When I decided to create my company, I was looking for a name that reflected my personality. I give a lot of attention to the projects that I initiate…thus, “Caring”; and “International”, because I am a woman of the universe.

You and your husband work together, how do you conceptualize your projects, divide your tasks?

We work as a team on all of our projects, from idea to delivery. What is interesting about working in tandem is that since we are also partners in our private lives we are very frank with each other. We both are perfectionists and demanding, which can be difficult to live with sometimes, however these attributes are always constructive. We have learned to utilize our gender, cultural and personality differences as a source of strength.

You also navigate between France and Togo, is it mostly virtual traveling?

We live half of the time in Lomé and the other half in Paris. We navigate between France and Togo, literally and figuratively.

Your current project, Zem la série, what was the concept behind it…your process…the interest in a bilingual series?

At the present we have co-produced 26 4-minute episodes of Zem with Canal Overseas. The series was broadcast on Canal Overseas during the 2010 Africa Cup of Nations. The next broadcast is scheduled on Canal+ Horizons in Africa, RTBF in Belgium at the start of the school year, and on Comédie in France this summer.

Moreover, we have plans to broadcast on VOD (Video-on-Demand) through the official website of the series to regions outside of Africa and France. The idea behind Zem was to offer to African and Western viewers a hip, quality program “made in Africa”. Besides, we wanted to show another side of Africa: a youthful, contemporary, attractive, witty Africa. This is how Palabres/Troubles came into being. In addition to reaching an African market we have our sights on Europe and North America as well. We have, therefore produced the French version “Palabres” and the English version “Troubles”.

The Zem series was a pilot that was initially launched on the Internet. How has New Media facilitated the production and broadcasting of your project?

At this time, in 2010, I think it is difficult to communicate without the Internet. Last year, we were able to introduce the Zem pilot to Internet users and test their interest. In my opinion, it is much easier to convince broadcasters to acquire a product that has already been tested and proven on the Internet. In fact, we are soliciting viewers who have an interest in the Palabres/Troubles pilot to become followers in order for us to reach our goal of 10,000 “fans”, which will allow us to produce other episodes.

Your future projects? Your dreams?

We plan to present a short film at the Cannes Festival in 2011 and, of course, we hope it is selected. A long-term goal is to create studios in Togo as a base, so that Caring International becomes in Africa what Warner or 20th Century Fox or Paramount is in the United States.

Translation from French and Interview by Beti Ellerson, May 2010

(photo credit: Alexandre Ouya)

La Parole à Angéla Aquereburu

Angéla, peut-être, pouvez-vous d’abord parler de vos multiples identités—si je peux utiliser ce terme—et ses influences sur votre travail ?

En effet, ma mère est guadeloupéenne et mon père togolais. J’ai vécu 15 ans en France. Je pense que ces différentes éducations m’ont permis de développer ma rigueur, mon ouverture d’esprit et ma soif de nouveauté.

Caring International ... C'est un nom intéressant, depuis combien de temps la société existe-elle, quelle est sa mission ?

Quand j’ai décidé de créer ma société, je cherchais un nom qui reflète ma personnalité. J’aime prendre en main les projets dans lesquels je me lance..d’où le nom Caring..et puis International, parce que je suis une “world woman”. La société existe depuis un an maintenant.

Vous travaillez avec votre mari. Comment ça se passe entre vous par rapport à la conceptualisation et la réalisation des projets…de la répartition du travail ?

Nous travaillons toujours à deux sur tous les projets: de l’idée jusqu’à la livraison. Ce qui est intéressant dans notre tandem, c’est que comme nous sommes partenaires dans la vie privée, nous sommes très francs l’un envers l’autre. Nous sommes exigeants et perfectionnistes, ce qui est parfois difficile à vivre mais toujours constructif. Nous avons appris à utiliser nos différences de genre (homme/femme), culturelles ou de personnalités pour les transformer en force.

Vous naviguez entre la France et le Togo, est-ce que c’est surtout virtuel?

Nous vivons 50% du temps à Lomé et 50% du temps à Paris. Nous naviguons entre la France et le Togo au sens propre comme au sens figuré.

Zem la série, quel était le concept derrière ce projet…le processus…l'intérêt d'une série bilingue?

Zem est une série dont nous avons co produits 26 épisodes de 4 minutes avec Canal Overseas. La série a été diffusée sur cette dernière chaîne pendant la CAN et une prochaine diffusion est prévue sur Canal + Horizons en Afrique, RTBF en Belgique, à la rentrée scolaire et Comédie en France (cet été). Nous prévoyons également une diffusion en VOD sur le site officiel de la série pour les régions hors Afrique et France.

À l’origine de Zem, nous souhaitions offrir aux téléspectateurs africains et occidentaux, un contenu populaire premium made in Africa. Puis nous avons eu envie de montrer une autre Afrique: une Afrique jeune, moderne, belle, drôle..C’est ainsi que le projet Palabres est né. Nous visons non seulement le marché africain mais aussi les marchés européens et nord américains. Nous avons donc réalisé une version anglaise de Palabres, qui s’appelle “Troubles”.

Zem la série était un pilote lancé sur l’Internet, comment ce nouveau media a-t-il facilité la production et la diffusion de votre projet?

Je pense qu’il est difficile de communiquer en 2010 sans internet. Ce média nous a permis d’exposer le pilote de Zem, l’année dernière et de le tester auprès des internautes. À mon avis, il est plus facile de convaincre les diffuseurs d’acquérir un contenu qui a fait ses preuves sur internet. Nous sommes d’ailleurs à la recherche de fans autour du pilote de Palabres. Nous nous sommes fixés comme objectif d’atteindre 10 000 fans pour produire d’autres épisodes.

Quels sont vos projets futurs? Vos rêves ?

Notre projet est de présenter un court-métrage en 2011 au Festival de Cannes et qu’il soit sélectionné. Un autre projet à long terme est de construire des studios au Togo et que Caring International devienne en Afrique ce que sont la “Warner” ou “20th Century Fox” ou “Paramount” aux USA.

Entretien avec Angéla Aquereburu par Beti Ellerson, mai 2010.