Jacqueline Kalimunda’s Rwanda (Trans-Europe-Afrique 32nd Festival International de Films de Femmes 2010)

Image: Jacqueline Kalimunda BBC

My Rwanda by Jacqueline Kalimunda (Simba Notes)

The figures show a glimpse of the horror that hit Rwanda in 1994. One million people killed in one hundred days. One million people killed in a population of 8 million. Just because one part of the population feels Hutu and another one feels Tutsi.

I was born and lived my childhood and teenage years in Rwanda and the horror that Rwanda went through strikes me as much as the paradox of this situation.

Indeed anyone who has lived in Rwanda has tales of friendship and love between some members of the 2 communities as much as tales of hatred and segregation. So what happened for so many Rwandans to be transformed into killers ? One million dead… How many killers ? How many watchers ?

Furthermore as much as it seems so obvious to point out the Hutus from the Tutsis, if you ask anyone in Rwanda or elsewhere to show you who is Hutu, who is Tutsi, many, if not all, will confuse the too. Especially since everyone speaks the same language, has the same culture and live in the same areas. Identity cards – with ethnic groups marked on - were not always asked at the barriers where many were killed. So how did the killers manage to separate, isolate and massacre 10,000 people a day ? How did they know who was who ? By the length of the nose ?

On the other hand let’s not be naïve, it does seem that, although Rwandans are known to be rather calm people, they have always had to express any change in society or in politics by shedding blood : 1959, 1963, 1973, 1979, 1994. When I was preparing this film in Rwanda I looked for people who had personal viewpoints based on their own life’s experiences. People with different opinions, who were ready to confront with opposing arguments.

So welcome for a journey with strong minded companions, in a beautiful land of

violence, extreme beliefs and wicked politics… my homeland.

NOTE: The video begins with an interview with Jacqueline Kalimunda 0:00-4:18 and continues with Safi Faye (who was featured on this Vlog on 26 May 2010)

IF THE EMBEDDED VIDEO IS NOT AVAILABLE ON THIS BLOG, PLEASE GO DIRECTLY TO THE VIMEO SITE : https://www.dailymotion.com/video/xcukme

Festimage 32nd Festival International de Films de Femmes 2-11 April 2010

Interview with Jacqueline Kalimunda regarding her film "Homeland" (2005)

0:00-4:18

Translation from French to English by Beti Ellerson

Presenter:

Hello everyone and welcome to this third day of the

International Women’s Film Festival. The Festimage Team,

always on the scene of action, has brought together a program full of interesting people to meet.

On the green hills of Kigali, the storm threatens to strike while Rwanda recalls the genocide ten years before

During that time Jacqueline Kalimunda was twenty years old and had just lost her father.

Her very politically-committed film was screened Saturday with her in attendance, she joins us in our studio.

From film excerpt:

What is a serpent?

What is a serpent?

Jacqueline Kalimunda:

I am Jacqueline Kalimunda, filmmaker of the documentary Homeland.

I am Rwandan and I was born in Rwanda and spent

my childhood and adolescence there.

It was very important to give a voice to the people

who I know in Rwanda

At the same time speak about myself and what I know of Rwanda

of what my parents have taught me about the country and also

what I have learned in books and in the media.

What bothers me a bit is that most people who speak about

Rwanda have only discovered it as a result of the genocide

and their vision, as far as I am concerned,

lacks a certain depth

as it relates to the whole history of Rwanda before,

and the people who live there

and perhaps also, they don’t have the emotional attachment

that I have for the country.

I try to retain a lesson rather than the images,

and to be sensitive to the fact that when one begins to accept discrimination,

that certain people are put to the side

and others are given preference; and when one accepts

a murder here, a massacre there,

it can develop into something absolutely horrible.

The Shoa and the Rwandan genocide are both genocides

yet different

I think that European history before the Shoa

may have ties to what happened in Rwanda at the same period.

Undoubtedly I am now very sensitive to all forms of discrimination,

incomprehension and division in society.

I am aware of the possible consequences.

Even within a society such as Rwanda,

a country where everyone speaks the same language,

has the same culture.

Of course there are historical differences

and this is what I wanted to show through the film.

Links

Simba Notes Website http://www.simbanotes.com/category/accueil/ NO LONGER AVAILABLE

"Ma quête consistait à essayer de comprendre."/ "My quest is to try to understand." An interview with Jacqueline Kalimunda in French by Viviane Azariane (Africultures)

Shirley Frimpong-Manso Makes Movies

Image: Wikipedia

Shirley Frimpong-Manso, filmmaker, producer, scriptwriter, CEO of Sparrow Productions has made several films that have been very popular with Ghanaian audiences and is a key player in the emerging Ghanaian popular movie phenomenon.

Her films, of which some clips are presented below, include, Live and Living it (2009), Scorned (2009), The Perfect Picture (2009), A Sting in a Tail (2009), Checkmate (2010), Six Hours to Christmas (2010), Peep (2011), Contract (2012), Adams Apples (2011-2013), Potomanto (2013), Big for Nothing (2013), Stranger in my Bed (2013), Tenant (2013), Devil in the Detail (2014), Love or Something Like That (2014), V-Republic (2014), Grey Dawn (2015), Rebecca (2016), and the TV series Shampaign (2016).

Since the publication of this post on 24 July 2010, a plethora of information on Shirley Frimpong-Manso has emerged, including a Wikipedia page.

More significantly, Joyce Osei Owusu devoted her thesis research to her work, titled, "Women and the Screen: a study of Shirley Frimpong-Manso's Life and Living It (2007) and Scorned (2008)", which was completed in 2009. During a 2011 interview with me she talked about the research and her doctoral work on Ghanaian women which followed.

The aim of her research was to understand how female filmmakers particularly Shirley Frimpong-Manso concretised her efforts to tell stories and present images of women shaped by values she highly endorsed. Joyce Osei Owusu also analysed how a group of female audiences read the female representations in her first two films: Life and Living It and Scorned.

During the interview Joyce Osei Owusu noted that "Shirley Frimpong-Manso promotes a sense of fashion that is hybrid when she presents in her movies authentic Ghanaian/African textiles like GTP Nuystyle and Woodin which have been designed into formal and informal wear, bags, hair accessories, rosettes, and hats. In a personal interview, she stated that this gesture is her way of supporting the idea that the traditional Ghanaian or African fabric is as good for funerals as it is for corporate board meetings." 

Shirley Frimpong Manso on her new feature film Rebecca and her latest TV series Shampaign

2016

Shirley Frimpong-Manso talks about A Sting in a Tail

Checkmate by Shirley Frimpong-Manso, Sparrow Productions

The Perfect Picture by Shirley Frimpong-Manso, Sparrow Productions

Scorned by Shirley Frimpong-Manso, Sparrow Productions

Report by Beti Ellerson (updated 09 March 2018).

Links:

See Joyce Osei Owusu: Researching Ghanaian Women in Cinema, during which she discusses her research on Shirley Frimpong-Manso

https://africanwomenincinema.blogspot.fr/2011/08/joyce-osei-owusu-researching-ghanaian.html

Focus on Osvalde Lewat-Hallade

FOCUS ON
OSVALDE LEWAT-HALLADE

Afrobuzz with
Osvalde Lewat-Hallade

Clip no longer available
Image: l'Invite
Capture Ecran | Screen Capture

English to French Translation of Afrobuzz “Tête-à-Tête” by Beti Ellerson

Presenter, Vanessa Mulanga: The Images of Black Women Festival in London is a tribute to black women in front of and behind the camera. An ideal place to meet talented women such as Osvalde Lewat, a film documentarist from Cameroon. Her themes are universal, such as the world of Amerindians or a story about one of the oldest political prisoners of Cameroon. If you do not yet know her, you may meet her on “Tête-à-Tête”.

My name is Osvalde Lewalt-Hallade, I am a filmmaker from Cameroon. I make documentaries. My last film, Une affaire de nègres, in English, Black Business, was released in 2009. Before, I made a film on the Amerindians of Canada. Also in Congo about women and war. And two films in Cameroon. My path is a bit ecletic as I focus on very different themes. Nonetheless, the themes converge as they focus on exclusion, injustice, the desire to change one’s circumstances.

I came to cinema because I felt a bit constrained in the area of journalism. As journalist one deals with subjects, that with hindsight, I found a bit superficial. And once the report is made it is somewhat out of date.  In cinema, one may deal with more important subjects, have one’s point of view on the subject, delve deeper into it, and that is what interested me.

It is always difficult to make a film, for a woman or a man. The problems can increase coming from Africa because there is no infrastructure to finance our films and thus the necessity to seek Western financiers. It is also difficult, when one has a family to take care of, to reconcile these elements. My male counterparts have less difficulty.

Nonetheless, today women have more opportunities, more doors are open, there have already been mechanisms set in place for women to work within her family life. I am happy to be able to be in this profession, especially as an African woman, as there are not very many, though the numbers are increasing. I realize that as we become more numerous this will provide the impetus for not only women, but also for African cinema as a whole.

Filmmakers whose films speak to me? I would say Ousmane Sembene, who is no longer with us. I would say Souleymane Cissé, Mahamat-Saleh Haroun; they are some of the filmmakers with whom I connect. There are others in the documentary genre such as Jean-Marie Teno, who has made very good films. And those who I have not named should not be jealous, I love all of your films.

I don’t think that this is a controversial film.  What should be controversial is not that I made a film about the Operational Command Unit, but rather that 10 years later there has not been real justice. What concerns me is not that people find the film controversial, but that there are those who think that the subject should not be broached. And that’s a pity. I think that we must confront our past in Africa, those parts that are glorious and good, but also those difficult moments.  In order to build one must look at one’s past and for me the film was about bringing to light a part of Cameroon’s history that was not well known.

I did not feel any pressure when making the film, as I did not talk about it and I made it rather discreetly. However, after the film was released the Cameroonian members of the crew did feel some pressure. I did receive some hostile telephone calls but nothing beyond that, so I feel fortunate.

There was no official censure of the film. When it was screened in Cameroon, those who wanted to see it were discouraged from doing so. And yes, it is a rather troubling film. It is unfortunate that Cameroonians are not allowed to see a film that speaks about them, their history. A film that is a mirror of their society at a certain moment.  It is not a film that gives a bad impression of Cameroon; that criticizes Peter, Paul, or John. It is a film that makes a statement about Cameroonian society.

It is not about winning a prize. I am trying to add my contribution to subjects that interest me. My next film will be shot in Israel, which is some distance from Africa, but it is a topic that touched me.

I am not sure if I would say there is such a thing as an “Osvalde style” perhaps there is an “Osvalde perspective” on things, on events, on people, I hope so.  Because it is this perspective that leads me to make the films that I do.

It is important to have a clear perspective on things. Also an optimistic outlook. Coming from Africa and aware of the difficulty to exist on the international scene, we must hang on, and continue to believe that the future has good things in store for us.

English Version of Synopsis of Une affaire de nègres from Africultures

March 20, 2000, a decree by the President of the Republic of Cameroon set up an Operational Command Unit to tackle rampant banditry in the Douala region. The Unit introduced what amounted to round-ups: one thousand and six hundred people in one year disappeared or were killed. One year after, nine young men disappeared. The matter was submitted to the UN High Commissioner for Human Rights. The accused were found guilty of "failure to follow orders" and released but legal proceedings have not come to an end. The families of victims have to live between the desire for justice and the pressure for the crimes to be wiped forever from the collective memory.

Une affaire de nègres - Trailer (2009) Osvalde Lewat-Hallade

French to English Translation of Une affaire de nègres-Trailer by Beti Ellerson:

Osvalde Lewat-female voiceover: What was I doing on the 20th of February 2000? I don’t know. On that day, the head of state of Cameroon, my country, created a group of trained operatives which consisted of the army, the police, the gendarmerie and the fire department. Their mission was to tackle rampant banditry.

“Look at my little brother” (pointing to a picture)

“Like a dog”

“Like a dog”

“My child was killed like a dog”

“Bullets everywhere”

Male voiceover: We began to find bodies, scattered throughout the city, we lamented all of the people that were reported dead or missing.

Osvalde Lewat-female voiceover: The operative remained active for a year.

 “The police in Cameroon has as its fundamental mission, to terrorize the people.”

Question- Osvalde Lewat-female voice: “Were you among those who were shooting”

 “I was in the section where shots were fired.”

Osvalde Lewat-female voiceover: One morning, Charles will see his own son shot before his eyes.

 “But when you kill someone, you experience a certain delight.”

 “If he was killed it must be stated openly.”

Osvalde Lewat -female voiceover: Today in Cameroon, no one wants me to remind them that the Operational Command Unit was sanctioned by the population.

 “Do not be afraid” “Shoot the people as I have order.” “And we shot them.”

Osvalde Lewat-female voiceover: No one wants to be reminded of the Green Number which allowed anyone to call free of charge—to denounce, accuse, their neighbor, brother, sister.

Male voiceover: Everyone who was part of the Operational Command Unit has left a scar on this location.

Link

https://osvaldelewat.com/

Lupita Nyong'o : actress in the Kenyan series "Shuga" and director of "In My Genes"

Lupita Nyong'o : actress in the Kenyan series "Shuga"director of "In My Genes" and

Award winning actress Lupita Nyong'o's first work as director and producer In My Genes, is a documentary about the experiences of people with albinism in Kenya. Made in 2009, the film was her thesis project at Hampshire College in the USA where she received a B.A. in film.

What is it like to be 'white' in a 'black' society? In My Genes shares the lives of 8 people with albinism in Kenya. It reveals the uplifting life story of Agnes, a woman with albinism of few means who heads a household of 7 children, her 17-year-old daughter expecting another. During the course of the documentary, Agnes discovers she has skin cancer and finds out the real reason why she lost both of her eyes. Yet Agnes keeps going, trusting in the work of her hands and the strength of her God. The threads of the woolen baskets she weaves blindly hold her family together as she tells us her story.

Interviews with seven other individuals inter-cut Agnes' narrative to share their unique experiences of living with albinism. They ponder on questions about the effects of their condition on aspects of their childhood, adolescence, sexuality, race, and dreams.

In My Genes presents an intimate introduction to albinism, and asks us to consider how it feels to be a member of one of the most hyper-visible and yet invisible groups of people in a predominantly black society. It is a film on disability, minority discrimination, identity, issues of representation, confidence and perception of the other.

Source: Third World Newsreel: http://www.twn.org/catalog/pages/cpage.aspx?rec=1222&card=price

***

Shuga (Trailer) with Lupita Nyong'o - MTV Staying Alive - EngageMedia

http://www.engagemedia.org/Members/MTVLudo/videos/MTV_PROMO_KENYA_MIX_SQUARE.mov/view

GLOBAL: MTV drama brings cool to HIV prevention

Source: IRIN Reuters / AlertNet

VIENNA, 21 July 2010 (IRIN) - It's a story of sexy young guys and girls having a good time in the big city, of friendships pushed to the edge, and families struggling to survive, but underneath all the drama, MTV's "Shuga" is a story about HIV.

"My character, Ayira, is young, attractive and very ambitious. When her father left it changed her economic status, and she'll do anything to get back up there," Lupita Nyong'o, who plays one of the main characters, told IRIN/PlusNews. Ayira cheats on her boyfriend with an older man at her workplace, who convinces her to have sex without a condom. He turns out to be HIV-positive.

Source: 

http://www.alertnet.org/thenews/newsdesk/IRIN/4fdd420d570aee785a840e748c6a4457.htm NO LONGER AVAILABLE

UPDATED TO INCLUDE WORK AS FILM DIRECTOR

Fanta Nacro: Florence Barrigha, le temps d'une rencontre (The Nana Benz of West Africa)

The Nana Benz of West Africa - Fanta Nacro’s Florence Barrigha, le temps d’une rencontre 

Fanta Nacro’s Florence Barrigha, le temps d’une rencontre (1999), is among three documentaries in the series "Reflets-Sud" presented by Wendy Bashi, that focus on West Africa printed fabric.

Synopsis of film translated from French by Beti Ellerson. The film is subtitled and spoken in French.

Florence Barrigha, Le temps d'une rencontre. At the time of independence in West Africa, several women had a taste for business. They had their fabric printed in the West and then sold it in Togo. These women called themselves NANA BENZ. Nana Benz, because they could afford to buy a Mercedes-Benz. In a word, the phrase Nana Benz symbolizes the freedom, pride, achievement and courage of women. This film highlights the story of one of the last seven Nana Benz of Togo: Florence Barrigha. She has a fascinating story, her experiences are very unique and original because for the first time, a woman became a Nana Benz not by inheritance, but by ingenuity and subtlety. In less than four years, she was able to penetrate the extremely closed world of the Nana Benz. She chose to work in a profession that today is undergoing a major crisis. Florence is one of the women who because of certain events, had to reinvent her life and the conditions to continue forward without giving up.