The purpose of the African Women in Cinema Blog is to provide a space to discuss diverse topics relating to African women in cinema--filmmakers, actors, producers, and all film professionals. The blog is a public forum of the Centre for the Study and Research of African Women in Cinema.

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Showing posts with label Wanuri Kahiu. Show all posts
Showing posts with label Wanuri Kahiu. Show all posts

05 December 2024

From Kaddu Beykat to Pumzi: Commemorating World Soil Day, 5 December


The Food and Agriculture Organisation of the United Nations (FAO) Commemorates World Soil Day on 5 December:

Soils have been neglected for too long. We fail to connect soil with our food, water, climate, biodiversity and life. We must invert this tendency and take up some preserving and restoring actions. The World Soil Day campaign aims to connect people with soils and raise awareness on their critical importance in our lives.

The environment has long been a theme that African women in cinema have addressed in their work, from Kaddu Beykat (1975) by Senegalese Safi Faye to Pumzi (2009) by Wanuri Kahiu of Kenya. 

In Safi Faye's Kaddu Beykat the story unfolds through the backdrop of an ongoing drought in the village, causing economic upheaval as groundnuts are its sole crop. In the film, Safi Faye depicts the hardships and problems of a Senegalese peasantry bent under the yoke of an agricultural system dominated by groundnut cultivation. A culture that is imposed on them to the detriment of the food crops that allowed them to live. She challenges the authorities, but also proposes a reflection on the future through reforestation and the protection of nature.

In the 1990s, Burkinabé Franceline Oubda directed her camera on themes around the environment in her documentary film, Femmes de Yatanga, which explores the initiatives of the Association Six 'S' ("L'Association Six 'S'"), based in Burkina Faso. The Association Six 'S' in French illustrates the first letter of the words, all beginning with 's', which describes the objective of the group--savoir se servir de la saison seche en savane au Sahel (to know how to make use of the dry season in the savanna of the Sahel). Her film Femmes de Yatanga portrays the women's efforts to survive the desertification that is threatening the region by using alternative methods of rearing sheep.

Wanuri Kahiu was inspired by the late Nobel Prize laureate and compatriot Wangari Maathai, whose Greenbelt Movement challenged Africans to replenish the earth by planting trees, combatting deforestation and soil erosion.

Talking about what motivated her to make the film Pumzi, Wanuri Kahiu had this to say: “Wangari Maathai has been talking about this issue for years and we never heed her advice so I am not here to tell people to conserve the environment alone, I am showing them what will happen if we don’t. I show a land where people recycle their own water to survive.” (nation.co.ke)

And thus the African Women in Cinema Blog celebrates the importance of soil, as it highlights the work of African women in cinema who endeavor to raise the public's awareness of soil and its importance to humanity and the environment. 

12 April 2019

African Women in Cinema Blog Updates | Actualités - 12.04.2019 - News around the Internet | Les infos autour de l’Internet


African Women in Cinema Blog Updates | Actualités - 12.04.2019
News around the Internet | Les infos autour de l’Internet

CONTENTS | CONTENUS

Nadège Beausson-Diagne
Isabelle Boni-Claverie
Fatoumata Coulibaly
Wanuri Kahiu
Matamba Kombila
Bongi Ndaba
Zalika Souley
Rama Thiaw
Marwa Zein


Isabelle Boni-Claverie
The Black Experience in French Cinema: a film retrospective and a conference
http://as.nyu.edu/ifs/events/public/spring-2019/the-black-experience-in-french-cinema--a-film-retrospective-and-.html

Wanuri Kahiu
Director Wanuri Kahiu: 'The vilest comments have been from people I love' 
https://www.theguardian.com/film/2019/apr/12/kenyan-director-wanuri-kahiu-rafiki-lesbianism-african-art

Matamba Kombila
Matamba Kombila, a la decouverte d'une cinéaste gabonaise exceptionelle. 11 avril 2019. Gabon Celebrities.
https://gaboncelebrites.com/matamba-kombila-a-la-decouverte-dune-cineaste-gabonaise-exceptionnelle/

Akosua Adoma Owusu
Video Room: Akosua Adoma Owusu, exhibition as part of the the Histories of Women, Feminist Histories cycle at MASP in Sao Paulo, Brazil.
https://masp.org.br/en/exhibitions/video-room-akosua-adoma-owusu

Zalika Souley
Zalika Souley. 8 avril 2019. Nigercine
https://www.nigercine.gq/p/zalika-souley.html

Rama Thiaw
Rama Thiaw: La réalisatrice qui interroge les féminités africaines. cheekmagazine.fr
http://cheekmagazine.fr/culture/rama-thiaw-realisatrice-feminites-africaines/

Marwa Zein
Khartoum Offside: Festival de Cine Africano FCAT
https://www.fcat.es/peliculas/oufsaiyed-elkhortoum/

VIDEOS:

Nadège Beausson-Diagne - #mempaspeur
Cine Femmes& Cinema Le Mag
Extrait épisode 14 du 06 avril 2019 avec l'actrice Nadège Beausson-Diagne qui nous parle du mouvement #memepaspeur contre les violences faites aux femmes dans le milieu du cinéma.

Fatoumata Coulibaly
L'après coup, la voix ds Maliennes ce soir le 9 avril a l'institut Culturel Français de Bamako. En présence de Fatoumata Coulibaly. 
Bongi Ndaba



29 March 2019

African Women in Cinema Blog Updates | Actualités - 29.03.2019 News around the Internet | Les infos autour de l’Internet


AFRICAN WOMEN IN CINEMA BLOG
Updates | Actualités - 29.03.2019
News around the Internet
Les infos autour de l’Internet

Content | Contenu:

Marwa Zein
Mouvement #Mêmepaspeur 
Le Festival Massimadi 
- Claudine Ndimbira
- Wanuri Kahiu
- Kis keya
- Susanne Serres
- Omayra Issa
Fatou Kandé Senghor 
Selma Bargach
Victoria Thomas
Amina Weira
Amina Abdoulaye Mamani
Enquête d'Afrique - L'Afrique au féminin
- Nadège Batou
- Siam Marley

Marwa Zein (Sudan)
Cineuropa.org Review: Khartoum Offside by Vladan Petkovic
https://cineuropa.org/en/newsdetail/368041/

#Mêmepaspeur au Fespaco : et après ? par Cinewax Assoc 23 mar 2019
https://cinewax.org/blogs/media/memepaspeur-au-fespaco-et-apres

Le Festival Massimadi : festival des films et des arts LGBTQ+ afro - 11e édition
http://www.massimadi.ca/
She, 2015, Rwanda
Réalisé par Claudine Ndimbira
Présenté en version originale kinyarwanda avec sous-titres en anglais.
Durée : 12 min 14

Rafiki, 2018, Kenya
Réalisé par Wanuri Kahiu
Présenté en version originale en anglais et swahili, avec sous-titres en anglais.
Durée : 1 h 23

Panel
Rencontrez les réalisatrices Kis keya et Susanne Serres lors d’un panel animé par Omayra Issa.

Fatou Kandé Senghor 
TV5Monde Afrique
26 mars
La réalisatrice, photographe et productrice sénégalaise Fatou Kandé Senghor a bataillé pour se faire une place dans le monde très masculin du cinéma africain.
https://www.facebook.com/tv5mondeafrique/videos/fatou-kandé-senghor-africaine-cinéaste-et-militante/2540816952612333/

Selma Bargach parle de son film "Indigo" et de ses projets.  5 mar 2019. Source: Nadia Ouiddar - https://lematin.ma/express/2019/selma-bargach-parle-film-indigo-projets/311773.html

Victoria Thomas
Interview with Victoria Thomas, producer for British outfit Polkadot Factory and selected for the 2019 Emerging Producers programme. 5 Rarch 2019. Source: cineuropa.org - https://cineuropa.org/en/interview/368974/

Amina Weira: Interview. 2 mars 2019.
Source: Clapnoir - http://www.clapnoir.org/spip.php?article1217

Amina Abdoulaye Mamani
Une autre facette de la vie du poète et écrivain nigérien porté à l’écran par sa fille
27 fev 2019. Source: http://www.clapnoir.org/spip.php?article1209 

Enquête d'Afrique - L'Afrique au féminin : Nadège Batou et Siam Marley




11 February 2019

FESPACO 2019 : Rafiki by/de Wanuri Kahiu (Kenya)

FESPACO 2019
Rafiki (2018) 83 min
by/de Wanuri Kahiu (Kenya)
Best actress award | Prix de la meilleure interprétation feminine

Official Selection | Sélection officielle
Feature Film | Long métrage
Synopsis

À Nairobi, Kena et Ziki mènent deux vies bien différentes, mais cherchent chacune à leur façon à poursuivre leurs rêves. Leurs chemins se croisent en pleine campagne électorale au cours de laquelle s’affrontent leurs pères respectifs. Attirées l’une vers l’autre dans une société kenyane conservatrice, les deux jeunes femmes vont être contraintes de choisir entre amour et sécurité.

In Nairobi, Kena and Ziki lead two very different lives, each seeking their own way to pursue their dreams. Their paths intersect in the midst of an election campaign during which their respective fathers clash. Attracted to one another in a conservative Kenyan society, the two young women will be forced to choose between love and security.


Biography | Biographie

Wanuri Kahiu is a Kenyan film director, producer, and author. She has received several awards and nominations for the films, which she directed, including the awards for Best Director, Best Screenplay and Best Picture at the Africa Movie Academy Awards in 2009 for her dramatic feature film From a Whisper. She is also the co-founder of AFROBUBBLEGUM, a media collective dedicated to supporting African art.

Elle naît à Nairobi. En 2001, elle obtient un diplôme BSc en sciences de la gestion de l'université de Warwick. Elle rejoint ensuite le programme de maîtrise en direction de cinéma et télévision de l'université de Californie à Los Angeles. Elle reçoit une distinction en tant que réalisateur à Motion Pictures of America Associates Award and the Hollywood Foreign Press Award. Elle fait partie d'une nouvelle génération du cinéma africain. Son moyen métrage Pumzi est sélectionné au Festival du film de Sundance (dans l'Utah), l’un des principaux festivals du cinéma independent. En 2018, son long-métrage Rafiki est sélectionné pour le festival de Cannes, dans la sélection Un certain regard.

Source (Text & image): Wikipedia

16 May 2018

Rafiki: to our forbidden love! | à nos amours interdites ! Cannes 2018 (analysis/analyse, Falila Gbadamassi - Africiné)

Rafiki: to our forbidden love! Cannes Film Festival (8-19 May 2018). Falila Gbadamassi (Africiné Magazine: analysis of the film by Wanuri Kahiu)

Translated from French by Beti Ellerson and published on the African Women in Cinema Blog in collaboration with Africine.org.

En français : http://www.africine.org/?menu=art&no=14442

A film about love, between two high school girls, which caused its director [Wanuri Kahiu] to be threatened with imprisonment in Kenya. Rafiki, a remarkable drama, is one of three African films in competition at the Un Certain Regard.

“We are here to celebrate love because we have come a long way to tell this story, it cannot be shown in Kenya (it has been banned since 27 April 2018, because the film is accused of ‘promoting’ lesbianism) but we can show it to you,” Kenyan filmmaker Wanuri Kahiu said during the screening of her film on 9 May 2018 on the Croisette. Rafiki ("Friend" in Swahili), an adaptation from the book by Ugandan Monica Arac de Nyeko, opened the competition at Un Certain Regard.

In Nairobi, the Kenyan capital, Kena (Samantha Mugatsia) and Ziki (Sheila Munyiva) are neighbours from the same area, though they belong to a different social background. But more importantly, their fathers are political rivals involved in an election campaign where the slightest blunder could be disastrous. With her girlfriends and her kitsch look, Ziki only thinks about having fun. Kena is more serious and wants to become a nurse. A tomboy, she often hangs with her friend Blacksta (Neville Misati) who plans to make her a respectable woman in the near future.

Meanwhile, Kena and Ziki "imagine themselves", one would say to paraphrase Vanessa Paradis (singer and actress, on the poster of Un Couteau dans le cœur, the film by Yann Gonzalez in the running for the 2018 Palme d'Or) when she interprets the song Tandem. The two high school girls come closer together and finally declare their burning desire for each other, in this Kenyan society where homosexuality is the latest crime in fashion.

The pragmatic Kena, while taking many risks to make the relationship happen, is careful not to reveal it. The frivolous Ziki, who does not want to be an ordinary Kenyan, chooses rebellion. Can one or the other of these strategies allow them to live their love openly when the pastor of their community emphasises, when he can, the abomination of a homosexual relationship?

The Kenyan state shares his view: homosexuality is illegal and is punishable by 14 years in prison. Reality has caught up with fiction. The shame is now cast on Wanuri Kahiu, who, congratulated a few hours after the announcement of her selection at Cannes, is now under threat of imprisonment because her film portrays homosexual love. At the moment, Kenyans are a long way from seeing the first Kenyan film selected at Cannes. Yet, they can be proud of this lively and colourful work, like the credits of the film. It echoes a Kenyan youth who enjoys its right to insouciance even in the most dramatic situations. Supported by two performers who convey their characters valiantly and with great sincerity, Rafiki is a beautifully made film. Wanuri Kahiu's sensitive and skilful storytelling takes the viewer by the hand, to see the blossoming of a love born in the expressions and smiles filmed with close-up shots. Through the lens of the filmmaker, the detail of the faces of the lovers becomes a true reflection of their soul.

Wanuri Kahiu produced a real gem that was born, in part, on the Croisette. Her selection is akin to a homecoming. Thanks to la Fabrique Cinéma of the French Institute, a program that supports young talents of the world, she completed the scriptwriting for Rafiki. "It's an honour and a privilege to be here (in Cannes)," said the Kenyan filmmaker at the presentation of her film. Proud to be at the Cannes Film Festival but also proud of her native Kenya. "Even if we are heartbroken by what is happening in our country," said Wanuri Kahiu, "we are proud to be Kenyans." And the future audience of Rafiki will be able to boast of having chosen a good film.

[Français]
Falila Gbadamassi est rédactrice à Africiné Magazine
Rafiki: à nos amours interdites !  Festival de Cannes (8-19 mai 2018)

Un film d'amour… entre deux lycéennes qui vaut à sa réalisatrice d'être menacée d'emprisonnement au Kenya. Rafiki, drame solaire, est l'un des trois films africains en compétition à Un Certain Regard.

"Nous sommes ici pour célébrer l'amour parce que nous sommes venues de loin pour raconter cette histoire. Il ne peut pas être projeté au Kenya (il est interdit depuis le 27 avril 2018, parce que le film est accusé de "promouvoir" le lesbianisme) mais nous pouvons vous le montrer", a déclaré la cinéaste kényane Wanuri Kahiu lors de la projection de son film le 9 mai 2018 sur la Croisette. Rafiki ("Ami" en swahili), adaptation du livre de l'Ougandaise Monica Arac de Nyeko, a lancé la compétition à Un Certain Regard. Lire l'intégralité de l'article @ http://www.africine.org/?menu=art&no=14442

12 April 2018

Rafiki by/de Wanuri Kahiu : Cannes 2018 - Un Certain Regard (Kenya)

Rafiki by/de Wanuri Kahiu :
Cannes 2018 - Un Certain Regard (Kenya)

http://www.festival-cannes.com/fr/infos-communiques/communique/articles/la-selection-officielle-2018

Rafiki by/de Wanuri Kahiu
Selection officielle | Official selection
Un certain regard

Source: Rafiki Press Kit: 
www.wanurikahiu.com/s/Rafiki-Press-Kit-2017.pdf

Lire aussi en Français dans Le Monde :

" Le premier film kényan jamais sélectionné à Cannes est une histoire d'amour lesbien " http://www.lemonde.fr/big-browser/article/2018/04/17/le-premier-film-kenyan-jamais-selectionne-a-cannes-est-une-histoire-d-amour-lesbien_5286659_4832693.html

Wanuri Kahiu : « Avec “Rafiki”, j’ai voulu raconter une belle histoire d’amour africaine »
http://www.lemonde.fr/afrique/article/2018/05/08/wanuri-kahiu-avec-rafiki-j-ai-voulu-raconter-une-belle-histoire-d-amour-africaine_5296145_3212.html

Pour la réalisatrice du premier long-métrage kényan présenté à Cannes, l’interdiction du film au Kenya assombrit ce grand moment.

Director: Wanuri Kahiu
Producer: Steven Markovitz, Big World Cinema
A Big World Cinema Production in co-production with Awali Entertainment (Kenya), MPM Film (France), Shortcut Films (Lebanon), Ape & Bjorn (Norway), Rinkel Film (Netherlands), Razor Film (Germany)

Rafiki is a love story about Kena and Ziki who live in a housing estate in Nairobi. The girls are unlikely friends and their fathers are rivaling politicians. When they fall in love and the community find out, the girls are forced to choose between love and safety.

Synopsis

Kena and Ziki live very different lives in the Highrise Estate in Nairobi. Kena works in her father’s shop and awaits the start of nursing school, while Ziki passes the days hanging out with her friends and making up dance routines. Their paths cross when their fathers run against each other for seats in the County Assembly, and they find themselves drawn to each other.

Soon their interest grows to affection and the girls find ways to love each other despite the ever-watching gaze of the neighborhood gossip and the homophobic sentiments of their community. However, once discovered by their family and attacked by the community, Kena and Ziki must choose between what they feel and what others want them to do.



02 January 2018

African women, cinema and LGBT subectivities | Les femmes africaines, le cinéma et des subjectivités LGBT

African women, cinema and LGBT subectivities | Les femmes africaines, le cinéma et des subjectivités LGBT

A key goal of the African Women in Cinema Blog is to feature current research and critical discourse, through interviews, conference proceedings and analyses on relevant topics. Following is a selection of articles regarding LGBT African women or by African women filmmakers on the subject of LGBT subjectivities that have been published on the Blog.

L'un des principaux objectifs du blog des femmes africaines dans le cinéma (African Women in Cinema Blog) est de présenter les informations courantes à travers des interviews, des actes de conférences et des analyses sur des sujets pertinents. Vous trouverez ci-dessous une sélection d'articles sur les femmes africaines LGBT ou des oeuvres faites par des réalisatrices africaines sur le sujet des subjectivités LGBT qui ont été publiées sur le Blog.


Maryam Touzani: Le Bleu du Caftan | The Blue Caftan. https://africanwomenincinema.blogspot.com/2023/01/maryam-touzani-le-bleu-du-caftan-blue.html Halim and Mina, who have been married for a long time, run a traditional caftan shop in the medina of Salé, Morocco. The couple has always lived with Halim's secret, his homosexuality. However, Mina's illness and the arrival of a young apprentice will upset this balance. United in their love, each will help the other to face their fears.

Josza Anjembe : Baltringue | Freed - Towards a self-interrogation | Vers un auto-questionnement. https://africanwomenincinema.blogspot.com/2020/05/recent-films-josza-anjembe-baltringue.html.Through this film about homosexual men in prison, Josza Anjembe was able to confront her interiorized lesbophobia and her own homosexuality.

Claudine Ndimbira : Support her film project “Living like a shadow” about the LGBTQ community in Rwanda. https://africanwomenincinema.blogspot.com/2018/12/claudine-ndimbira-support-her-film.html
Claudine Ndimbira had this to say about the film project: With this project “Living like a shadow” I want to give the voice to LGBTQ community members in Rwanda to tell their stories, what they have been through, what they wish their lives could be but also to the society so that they say what is the reason why they think being gay is a problem to them.

Rafiki: to our forbidden love! | à nos amours interdites ! Cannes 2018 (analysis/analyse, Falila Gbadamassi - Africiné)
A film about love, between two high school girls, which caused its director [Wanuri Kahiu] to be threatened with imprisonment in Kenya. Rafiki, a remarkable drama, is one of three African films in competition at the Un Certain Regard.

Rafiki by/de Wanuri Kahiu : Cannes 2018 - Un Certain Regard https://africanwomenincinema.blogspot.fr/2018/04/rafiki-byde-wanuri-kahiu-cannes-2018-un.html
Rafiki is a love story about Kena and Ziki who live in a housing estate in Nairobi. The girls are unlikely friends and their fathers are rivaling politicians. When they fall in love and the community find out, the girls are forced to choose between love and safety.

Nneka Onuorah launches a crowdsourcing campaign for "Rotten Fruit" film project
https://africanwomenincinema.blogspot.fr/2017/05/nneka-onuorah-launches-crowdsourcing.html
Rotten Fruit centers on the relationship between the LBGTQI community and the attitudes of the Black Church in the United States.

The African Women in Cinema Blog spotlights Nneka Onuorah and her film “The Same Difference” during Women’s History Month
The documentary explores lesbians who discriminate against other lesbians based on gender roles and heteronormative notions of femininity and masculinity.

FESPACO 2017: Normalium by/de Siam Marley (Cote d’Ivoire)
In love with a man in a world where the norm is homosexuality, sixteen-year-old Charlotte will have to be exorcised for her "deviant" behavior. An exorcism authorised by her two mothers.

Amoureuse d’un homme dans un monde où la norme est l’homosexualité, Charlotte, 16 ans, va se faire exorciser pour son comportement "déviant". Un exorcisme approuvé par ses deux mères.

When Alice Diop takes us "towards masculine tenderness" | Quand Alice Diop nous entraîne "vers la tendresse" au masculin by/de Sylvie Braibant – tv5monde

Understanding lesbophobia in West Africa: sixteen women’s voices | Seize voix de femmes pour comprendre la lesbophobie en Afrique de l’Ouest

Frieda Ekotto: For an endogenous critique of representations of African lesbian identity in visual culture and literature

Frieda Ekotto : Pour une critique endogène sur les représentations visuelles et littéraires de l’identité lesbienne africaine

"Difficult Love" by Zanele Muholi
Visual activist Zanele Muholi of South Africa, repositions the African subject that is often represented by others, reclaiming her own space and that of other black lesbians and black South Africans as a whole. Telling her own story and taking ownership of her subject-position, she returns the gaze, re-writes the script that has often left black lesbians and Africans in general without a voice.

Zanele Muholi: Some Prefer Cake - Bologna Lesbian Film Festival - Italy

Zanele Muholi: Some Prefer Cake - Le Festival du film lesbien de Bologne - Italie 2012

Cheryl Dunye's "Black is Blue" Kickstarter campaign success

Marie Kâ : L'Autre Femme | The Other Woman (Senegal)

Naomi Beukes-Meyer (Germany-Namibia) launches crowdfunding for the 2nd Episode of THE CENTRE Web Series
Naomi has always felt that there is a distinct lack of film and television dramas highlighting first and second generation African female and, in particular, lesbian experience.

Wanuri Kahiu: "Homosexuality is not unafrican; what is unafrican is homophobia"

Boukary Sawadogo discusses his research: Three marginal figures in the cinemas of Francophone West Africa - the mad person, the homosexual, the woman

Sophie Kaboré’s Quest: Exploring African homosexualities
The film is about Abdou, the oldest son of a well-respected businessman, who, after a long stay abroad returns home. He has lived other experiences that brought about a psychological and sexual transformation. It is about a transvestite who returns to his social and cultural milieu, a milieu that is horrified by this practice.

OTHER LINKS | AUTRES LIENS

Kis Keya, creator of "Extranostro", a 5-episode new-media series about the gay black community: https://www.youtube.com/channel/UCE4GYm5GxQD1yzpPpbBav8Q

Black Gay Male Spectatorship in the United States: The Reception of the Films Dakan and Woubi Cheri: https://africanwomenincinema.blogspot.com/2009/06/black-gay-male-spectatorship-dakan-woubi-cheri.html

06 September 2015

“Pumzi” by Wanuri Kahiu. Highlighting African women during the Directed by Women worldwide film viewing party - 1-15 September 2015

Pumzi by Wanuri Kahiu. African Women in Cinema Blog highlights African women via films accessible online during the Directed by Women (http://directedbywomen.com/) worldwide film viewing party - 1-15 September 2015.

Wanuri Kahiu:

My metaphor about Pumzi is life and sacrifice and that we ourselves have to mother mother nature. That we have to make sacrifices in order to live in this world. And that we have to know that our own behaviour will affect generations to come.

Follow link to: https://vimeo.com/46891859 

24 March 2015

INDIGO TONGUES Interview Series (Iyalode Productions)

INDIGO TONGUES Interview Series
(Iyalode Productions)

It is very important to me as an African to reach out to other Africans and support their work. We are a marginalised group in the context of world politics, or anything else within the global context really, so the more we can support each other, the more our voices will be heard, our stories told and our problems solved--Mojisola Sonoiki

Indigo Tongues is an interview series produced by Iyàlódè (e-yah-low-day) Productions founded by Mojisola Sonoiki in 2005. Following is a selection from the interview series. Visit the Iyalode Productions website for the entire series at https://iyalodeproductions.com/

This post has been reformatted from its original content to include updated interviews from the series.

Indigo Tongues features Tope Oshin 
Indigo Tongues catches up with one the most prolific filmmakers in the Nigerian Film industry, Tope Oshin in Lagos whilst on the set of shooting an episode of the soap Forbidden.
September 13, 2019
http://iyalodeproductions.com/indigo-tongues-features-tope-oshin/



Indigo Tongues features Lydia Forson 
Indigo Tongues catches up with Ghanaian screen Diva, Lydia Forson in Accra where we chat about her work and get a glimpse into her personal side.
August 7, 2018
http://iyalodeproductions.com/lydia-forson-on-indigo-tongues/



Mahen Bonetti on Indigo Tongues
Indigo Tongues features Mahen Bonetti originally from Sierra Leone, West Africa, is the Founder of The African Film Festival inc., producers of the New York African Film Festival, one of the largest film festivals dedicated to celebrating African cinema in the U.S.
March 10, 2015
http://iyalodeproductions.com/mahen-bonetti-on-indigo-tongues/


Indigo Tongues features Wanuri Kahiu
Award winning Kenyan Filmmaker, Wanuri Kahiu catches up with Indigo Tongues in Nairobi for a candid interview about working and living life as a filmmaker.
November 13, 2013
http://iyalodeproductions.com/wanuri-kahiu-on-indigo-tongues/


Also see link from the African Women in Cinema Blog:

28 August 2013

La Fabrique 2013 - Wanuri Kahiu: "Homosexuality is not unafrican; what is unafrican is homophobia" | "Ce n'est pas l'homosexualité qui est non-Africaine, c'est l'homophobie"

Wanuri Kahiu (Kenya) : La Fabrique des Cinémas du Monde (Festival de Cannes) 2013

Her second time at La Fabrique, Wanuri Kahiu's project was inspired by Ugandan Monica Arac de Nyeko's novel Jambula Tree. A moving love story about two young women who fall in love, that she wanted to bring to film.

UPDATE: The completed film was released under the title Rafiki, presented
in Un Certain Regard at Cannes in 2018.

Also see the African Women in Cinema Blog
https://africanwomenincinema.blogspot.com/2018/04/rafiki-byde-wanuri-kahiu-cannes-2018-un.html

La Fabrique des Cinémas du Monde

La Fabrique des Cinémas du Monde is a professional programme helping talented young directors from emerging countries increase their international exposure. Each year this programme, developed by the Institut français, in partnership with France Médias Monde – RFI, France 24, Monte Carlo Doualiya- with the support of The International Organization of La Fancophonie, invites ten directors working on their first or second feature films to attend the Festival de Cannes along with their producers.

READ THE INTERVIEW AT THE LINK BELOW

"Homosexuality is not unafrican; what is unafrican is homophobia": Interview by Olivier Barlet with Wanuri Kahiu about her film “Jambula Tree”

"Ce n'est pas l'homosexualité qui est non-Africaine, c'est l'homophobie" entretien d'Olivier Barlet avec Wanuri Kahiu à propos de Jambula Tree


Read in its entirety: http://www.africultures.com/php/index.php?nav=article&no=11754
À lire dans son integralité: http://www.africultures.com/php/index.php?nav=article&no=11753





17 September 2012

Wanuri Kahiu: Afrofuturism and the African


Wanuri Kahiu’s TEDX talk about Afrofuturism to a Nairobi audience in July 2012 was an insightful discussion at the intersection of its Afro-American origins, its application within an African context, and how it compares to her film Pumzi. Drawn by the work of Mark Dery [Black to the Future] and the cosmic consciousness of the music and performance of Sun Ra, Wanuri looks inward into her own culture in search of an African-based Afrofuturism, a concept formulated and proposed by Mark Dery in this way:

Speculative fiction that treats African-American themes and addresses African-American concerns in the context of 20th century technoculture---and, more generally, African-American signification that appropriates images of technology and a prosthetically enhanced future---might, for want of a better term, be called Afrofuturism. The notion of Afrofuturism gives rise to a troubling antinomy: Can a community whose past has been deliberately rubbed out, and whose energies have subsequently been consumed by the search for legible traces of its history, imagine possible futures? (Mark Dery, "Black to the Future").

These questions provoked Wanuri to ask similar ones regarding the significance of myths and legends in African cultures as it relates to Afrofuturism, which led her to Mount Kenya, which according to Kikuyu tradition is the home of God.

However, even before she learned about these myths and legends, she recalls the stories that her mother told her as a child. Later as she grew older Wanuri discovered her own stories, exploring the cultural expression and creative works of Africans throughout the continent. In her talk she explores their link to the notion of Afrofuturism, such as the fascinating work of Nigerian writer Ben Okri and the idea of the spirit child. She also recalls the Sangoma of South Africa and how they deal within the spiritual realm. She notes that in Dogon mythology, there had been legends about the planet Surius B, before it was known to western scientists. Hence, in all of her examples she attempts to show that based on the conceptual framework of Afrofuturism as outlined by Mark Dery, Africans too are using it to stake a claim in the future. That Africans have and continue to use technology from outside of their spaces in a manner specific to African needs. That Africans have used technology as a means to understand their world and their environment. And thus Pumzi reflects this: “my metaphor about Pumzi is life and sacrifice and that we ourselves have to mother mother nature. That we have to make sacrifices in order to live in this world. And that we have to know that our own behaviour will affect generations to come.” In Pumzi, Wanuri Kahiu returns to Kenyan legends and mythology as her protagonist Asha looks to Mount Kenya for survival and a hope for the future.

See the 15 minute TEDX talk: Wanuri Kahiu TEDx Forum On Afrofuturism In Popular Culture http://www.youtube.com/watch?v=PvxOLVaV2YY

Photo source: tedxnairobi.com

02 March 2012

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

24 August 2010

Cannes: Wanuri Kahiu's "From a Whisper": Revisiting the 7 August 1998 Nairobi terrorist attack

Cannes: Wanuri Kahiu's "From a Whisper" : Revisiting the 7 August 1998 Nairobi terrorist attack
 
Excerpt from a report from special correspondant Kèoprasith Souvannavong at Cannes translated from French featured on Radio France International - rfi.fr (15 August 2010)
https://www.rfi.fr/fr/contenu/20100515-le-film-kenyan-from-whisper-revisite-attentats-nairobi
 
From A Whisper presented at the 63rd Cannes Film Festival as part of “Cinémas du monde”, the first feature film by Kenyan Wanuri Kahiu, is inspired by the bomb attack against the United States Embassy in Nairobi in 1998. Wanuri emphasizes that this tragedy has left an indelible mark on the minds of Kenyans more than ten years later.
 
She states:
“More than ten years after the fact, we seem to be only interested in statistics. We still mention the number of dead, estimated at 200, and the injured, forgetting personal stories. Nonetheless, 252 families were also the victims. Even today, some still cannot forgive. In this drama, I preferred to focus on human relationships, on emotions.”

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