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.

Le Blog sur les femmes africaines dans le cinéma est un espace pour l'échange d'informations concernant les réalisatrices, comédiennes, productrices, critiques et toutes professionnelles dans ce domaine. Ceci sert de forum public du Centre pour l'étude et la recherche des femmes africaines dans le cinémas.

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20 October 2022

Janaína Oliveira - Cinidb.Africa podcast - Português - 26 - 10 - 2022

Janaína Oliveira
Cinidb.Africa podcast
 Português 
26 - 10 - 2022


Source: Cinidb.Africa



Cinidb.Africa - Português (Janaína Oliveira) - https://anchor.fm/cinidb-africa-pr/episodes/Trailer-e1ogqva


Seja bem vindo à série de Podcasts do Cinidb com profissionais de cinema da África e da diáspora. A série é apresentada por três especialistas e conta com a participação de diretores, produtores, curadores, críticos e acadêmicos. Cada episódio traz um convidado que fala sobre seu trabalho, compartilhando também insights e reflexões sobre a história, o atual status e os desafios futuros dos cinemas da África e da diáspora.

A série Cinidb-podcast é uma iniciativa do Cinidb.Africa – um projeto que visa conectar profissionais do cinema africano e diaspórico uns com os outros e com o público. 

Grace Passô

Nesta conversa fundamental, a diretora, roteirista e atris brasileira Grace Passô fala como Janaína Oliveira sobre sua trajetória compartilhando questões centrais que orientam seus trabalhos e processos criativos. Passô faz também uma franca reflexão sobre os desafios das experiências negras no cinema no Brasil contemporâneo. (10-26-2022)

@ https://anchor.fm/cinidb.../episodes/Grace-Pass-e1pp869

Katarina Hedren - Cinidb.Africa podcast - English - 26 - 10 - 2022

Katarina Hedren
Cinidb.Africa podcast
English - Français - Português 
26 - 10 - 2022


Source: Cinidb.Africa


Cinidb.Africa - English (Katarina Hedren) - https://anchor.fm/cinidb-africa-eng/episodes/Trailer-e1oeipu


This series, about African film professionals, is hosted by 3 experts in the field of African cinemas, features directors, producers, curators, critics and scholars from across the African continent and the diaspora. Each episode features one guest, who talks about their work, shares insights and reflects on the past, the present and the future of cinema in Africa and beyond.


The Cinidb podcast series is funded by The GIZ - The German Agency for International Cooperation and the Goethe-Institut and is brought to you in 3 languages: English, French and Portuguese.


Anisia Uzeyman

In this rich conversation, Rwanda-born actress, playwright and director, Anisia Uzeyman, talks to Katarina Hedrén about art as legacy and proof of life, and about the definition and meaning of ethical collaboration. (10-26-2022) @ https://anchor.fm/cinidb-africa-eng/episodes/Anisia-Uzeyman-e1pp89s



19 October 2022

Sylvia of YIRITV: The Woman King revue - YouTube review

FOCUS
African women's reflections on The Woman King

Sylvia of YIRITV

The Woman King revue - YouTube review


During this 15:56 minute review Sylvia captivates the francophone YouTube audience of YIRITV, which has more than 200k subscribers, with a passionate discussion about the film The Woman King. With more than 17,000 views and over 200 comments, the viewers are eager to engage with the myriad questions, concerns, topics that she raises.


ABOUT YIRTV

What does YIRTV mean? "YIRI" means "tree", which is the symbol of life and of humanity. In Africa, the tree is a sacred symbol of goodness. "YIRITV" is the palaver tree. Active since 2019, the YIRITV channel is where moviegoers come together to share their opinion about AFRO cinema.


This post will be updated to include an English summary of her review.


YouTube: https://www.youtube.com/watch?v=n-D7xo0uAqc


Contents include:

Introduction

La representation des femmes | Representations of women

L’histoire reinventee | A history reinvented

Deja-vu 

Des personnages incroyables | remarkable characters

La notion de famille | the notion of family

Les accents | the accents of the characters

À voir absolument | definitely a must-see



15 October 2022

FALILA GBADAMASSI interview with/avec CORNÉLIA GLELE - The Woman King": how the actresses learned Fon, the language of the "Agodjiés" of Benin | comment les actrices ont appris le fon, la langue des "Agodjiés" du Bénin

FOCUS
African women's reflections on The Woman King

Falila Gbadamassi, introduction and interview with Cornélia Glele

The Woman King": how the actresses learned Fon, the language of the "Agodjiés" of Benin 
Cornélia Glele is one of the two background consultants who took part in the American production.

"The Woman King" : comment les actrices ont appris le fon, la langue des "Agodjiés" du Bénin
Cornélia Glele est l'une des deux consultantes en fon qui a participé à la production américaine.

Translation from French by Beti Ellerson

Source (version originale en Français): https://www.francetvinfo.fr/monde/afrique/culture-africaine/the-woman-king-comment-les-actrices-ont-appris-le-fon-la-langue-des-agodjies-du-benin_5395819.html


Beninese filmmaker Cornélia Glele launched the International Women's Film Festival of Cotonou (FIFF) in 2019, whose aim is to promote film productions made by African women. Recently, she worked on the film The Woman King by Gina Prince-Bythewood. Her mission was to assist the cast—Viola Davis, Thuso Mbedu, Lashana Lynch and Sheila Atim—to master Fon, one of the main languages of Benin and which is spoken by the Amazons, who are originally from the south of the country. The Woman King, which evokes the warrior exploits of the Amazons, is pure Hollywood entertainment, while at the same time a symbolically just cultural product, even if, like all fiction, The Woman King takes some liberties with history.*


Franceinfo Afrique: You are listed in the credits of the film The Woman King as a Fon-language consultant. What did your job consist of? 


Cornélia Glele: 
Along with Beninese actress Carole Lokossou, our role was to teach Fon to the various actresses and actors of the film, a dozen in all. Since it was shot during the pandemic, we did Zoom meetings all the time, about one hour a day for each actor. We responded to each one with their dialogue in Fon. We also worked with the music team, for example, translating into Fon and verifying that the sound of the recordings in the Fon language was good.


Is it easy to learn Fon? 

Fon is not an easy language to acquire but we had good students. It was a very enjoyable experience teaching it. We experienced a lot during this project.


In Benin, The Woman King has been criticized for cultural appropriation. The question is who tells Africans’ stories and to what extent they are able to do so themselves, especially cinematic stories. Your reflections? 


I don't know if it is a story that belongs only to Africa or specifically to Benin. I believe that it is also their history, that it is the history of humanity. The slave trade took place along the entire coast of the continent: people were deported from Benin and were taken to America. Is it any less the history of an African American than of a Beninese who remained in Benin? I don't think so. It is all of our history and each decides to tell it as she or he feels. In Benin, we are not yet able to tell this story because we certainly do not have the means to do so. However, at the present, there is a statue in Benin that represents an Amazon, which demonstrates that the Beninese State had the means to erect this monument. Perhaps in a few years it may be able to invest in a large production such as The Woman King.


You are the director of a festival dedicated to women in cinema. What inspired you about this cast, this majority-woman team as a contribution to the history of extraordinary women?


The film was proposed by a woman (Maria Bello), produced by a woman (Viola Davis), directed by a woman (Gina prince-Bythewood), edited by a woman. I was very proud to be part of all of this because this film demonstrates that women can bring to reality a production that is presently lauded by the critics. This means that we are capable of doing everything and that it simply takes a bit of willpower. The Woman King is a wonderful experience and I hope it will inspire many women in Benin and in Africa.


What will you take away from this experience?


I learned a lot. I did not know, for example, certain events in the history of the Amazons. Presently, the film’s significance makes this experience unique. In the future, when I am asked which country I come from, this film will make it possible to situate Benin, which means that I don’t have to explain that it is a neighbor of Nigeria. However, what stands out for me above all is the discipline that permeated the space during our work sessions. All the actors practiced constantly to get the right pronunciation. They are real professionals! We would love to work with this kind of people all the time. We don't always have the opportunity on the African continent. 


Of your famous students, who was the best in Fon? 


Trick question (laughter)! I would like to invite them to the FIFF in Cotonou one day and I hope they will accept my invitation. 


*A point drawn from historian Sylvia Serbin, author of Reines d'Afrique et héroïnes de la diaspora noire in an interview by Cédric Cousseau. 
https://www.francetvinfo.fr/culture/cinema/the-woman-king-les-amazones-du-dahomey-se-sont-elles-opposees-a-la-traite-des-esclaves-comme-le-montre-le-film_5391673.html 

13 October 2022

Nadia El Fani : Capitale parenthese [Capital parenthesis]

Nadia El Fani
Capitale parenthese [Capital parenthesis]


France - 2021 - 70mins


Nadia El Fani presents her film in October, this month at the Festival Cinémondes and at the JCC (Carthage).


Source: https://www.lesfilmsdici.fr/fr/en-developpement/5224-capitale-parenthese.html

Image: les films d'ici. Translation from French by Beti Ellerson


"Restez chez vous". Trois mots. Le 17 Mars 2020 tout s’arrête. L’évasion est interdite. Filmer le rien. Je décide de prendre ma caméra chaque jour. Je fais tout à l'instinct. Mon appartement au sixième étage a une perspective dégagée sur le ciel, une vue plongeante sur un cimetière, une rue, et sur l'autre versant, un grand angle sur la cour d'entrée. Dehors, un kilomètre à la ronde, je filme la vie des autres qui me rappelle que je suis seule. La radio tourne en boucle. La nostalgie du cinéma me rattrape. Moments insolites, poétiques, comiques. Deux mois, je n'en reviens toujours pas!


"Stay at home". Three words. On 17, March 2020 everything stops. Escape is forbidden. Filming the nothingness. I decide to take my camera every day. I do everything on instinct. My apartment on the sixth floor has a clear view of the sky, overlooking a cemetery, a street, and on the other side, a wide-angle view of the entrance of the courtyard. Outside, within a 1-kilometer radius, I film the lives of others, which reminds me that I am alone. The radio runs in a loop. Nostalgia for the cinema catches up with me. Moments: unexpected, poetic, comic. Two months—I am still amazed!


***


Jusqu'à début Mars 2020 mon insouciance (mon inconscience ?) était inébranlable… Jusqu'à l'appel de l'amie qui m'héberge à Tunis : "Nana, les autorités viennent d'annoncer que toute personne arrivant de l'étranger devra rester confinée 14 jours au domicile de son choix…".


La Tunisie s'est confinée bien avant la France. Dans la foulée Transavia m'envoie un e-mail "Votre vol pour Tunis-Carthage du 24 Mars est annulé, remboursement suit…". Décidément l'alignement des planètes n'était pas en ma faveur ! Je ne tournerai pas mon prochain film en Tunisie. Tout mon matériel, caméras, Nagra numérique était prêt. Mon désir de filmer enfin comblé, m'a procuré une immense énergie, elle est toujours là. Je lutte contre ce sentiment de frustration qui gâche le bonheur qu'on ressent à chaque veille de partir en tournage…


Quelques jours plus tard le président Macron nous annonce qu'en France nous allons être confinés à notre tour… Comme bon nombre de Parisiens, je vis dans un petit appartement. Comment supporter l'enfermement ? M'évader par l'œil de ma caméra m'apparait comme une évidence. Ma décision de filmer chaque jour est pour moi un acte de résistance.


Mon appartement au sixième étage, a de nombreuses fenêtres, une perspective dégagée sur le ciel d'un côté, ainsi qu'une vue plongeante sur un cimetière, une rue, une cour, et sur l'autre versant une autre cour, l'entrée de l'immeuble. Par ailleurs mon iPhone me permettra de faire des prises de vues lors de mes sorties. J'écoute aussi beaucoup la radio, j'enregistre des bribes d'émission… Je décide de mettre à profit ce temps qui m’est imposé pour dessiner les contours d’un témoignage.


Un témoignage dont je suis certaine qu’il sera compris par le plus grand nombre, puisque finalement je ne suis pas la seule.


***


Until the beginning of March 2020 my insouciance, (my recklessness?) was unflappable…Until a call from the friend who is hosting me in Tunis: “Nana, the authorities just announced that anyone arriving from abroad must stay in quarantine for 14 days at a home of their choice…”


Tunisia went into lock-down well before France. In the same moment, Transavia sends me an e-mail: Your flight for Tunis-Carthage on 24 March is canceled, a reimbursement will follow…” Decidedly, the alignment of the planets was not in my favor!


I will not shoot my next film in Tunisia. All my equipment, cameras, digital Nagra was ready. My desire to film, finally fulfilled, gave me an immense energy, it is still there. I fight against this feeling of frustration which shatters the happiness that one feels at the eve of each departure for a film shoot.


A few days later President Macron announces that in France we will also go into lockdown. Like many Parisians, I live in a small apartment. How to endure this lockdown? To escape through the eye of my camera seems self-evident. My decision to film every day is for me an act of resistance.

My sixth-floor apartment has many windows, a clear perspective of the sky on one side, as well as a view overlooking a cemetery, a street, a courtyard, and from the other, a view of another courtyard, and the building entrance. In addition, my iPhone will allow me to shoot during my outings. I also listen to the radio a lot, I record snippets of the programs.

I decide to take advantage of this time that has been imposed on me in order to shape the contours of a personal testimony.

A testimony that I am sure many others will recognize, since ultimately I am not the only one. 

Capitale Parenthèse EXTRAIT VF from Les Films d'Ici on Vimeo.

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