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

Zippy Nyaruri: Zebu and the Photo Fish

©Zipporah Nyaruri

FESPACO 2011 WATCH:
Official Competition - TV/Video Fiction

From the KenyaFilm Blog 2 February 2011

Zipporah Nyaruri, an upcoming film talent from Kenya, is making ripples in regional film festivals with her latest short, Zebu and the Photo Fish.

Working variously as director, writer and editor, Nyaruri, who holds a Bachelor's degree in Business Studies from Uganda Islamic University and a diploma from the Kenya Institute of Mass Communication believes that she has learnt more about her craft from being on a real set than she could ever learn from attending formal film school. Though largely based in Uganda, the diminutive filmmaker refers to herself as "a citizen of the world", a clue perhaps to the size of her ambitions. She describes herself as having gone to Uganda looking for adventure, and ended up discovering both work and her passion for film there. After starting her career with NGO funded documentaries, she describes Zebu and the Photo Fish as her virgin foray into fiction film and says she does not intend to turn back. Her reason; "the lack of creative liberty that donor agenda impose upon you". If she makes another documentary (one of which she has already begun), she insists it will be on her terms.

Synopsis of film:

Zebu, the young son of a fisherman, gets tired of following his father in his fruitless efforts to pay an old debt at the expense of the life of his sick mother. To the disbelief of his father, Zebu embarks on an adventure to rid his dad of the debt, have the mother treated, and stabilize his family.