Cannes 2015 : Rokia Traore, la voix africaine du jury | the African voix of the jury

Rokia Traore sur les marches à Cannes  | on the steps at Cannes
© BERTRAND LANGLOIS / AFP

Cannes 2015 : Rokia Traore, la voix africaine du jury | the African voix of the jury

Source: culturebox.francetvinfo.fr. 18-05-2015

Photo: Rokia Traore sur les marches à Cannes  | on the steps at Cannes © BERTRAND LANGLOIS / AFP

Reportage à Cannes | Report from Cannes: N.Hayter, N.Berthier, C.Beauvalet

À LIRE AUSSI : RENCONTRE - Rokia Traoré « Un silence peut dire beaucoup dans un film» - Festival de Cannes 2015 (Festival International du Film)

READ ALSO: INTERVIEW - Rokia Traoré "In a film, silence can convey many things" Festival de Cannes 2015 (Festival International du Film)

[English]

Composed of professionals of cinema, the Cannes jury is rarely comprised of singers. With Rokia Traoré, the 68th edition is an interesting exception. The brilliant Malian musician is elated to be part of this rich experience, treating herself to a delightful digression.

Under the American presidency of the Coen brothers, Rokia joins Xavier Dolan, Sienna Miller, Guillermo del Toro, Sophie Marceau, Rossy de Palma et Jake Gyllenhaal, ascending the world famous stairs almost everyday right up until the awarding of the Palm d’Or. But the extravagance and beautiful gowns do not go to her head. “To ascend the red carpet, it’s a great experience, but I also need to have a very simple life,” she stated to France3.

LIRE L’ARTICLE EN FRANCAIS: http://m.culturebox.francetvinfo.fr/festival-de-cannes/cannes-2015-rokia-traore-la-voix-africaine-du-jury-219619

TEXT OF TRANSLATION FROM OF REPORTAGE À CANNES BELOW

[Translation of narration: Reportage à Cannes | Report from Cannes - https://fresques.ina.fr/festival-de-cannes-fr/fiche-media/Cannes00707/rokia-traore-membre-du-jury.html]

Narrator: A few weeks ago Rokia Traore would never have thought she would be in Cannes in the month of May. The Cote d’Azur she knows well, but this time she is not touring. When she was invited by the Cannes Festival to be part of its prestigious jury she said yes, with much delight.

Rokia Traoré: In general I like artistic expressions, whether through sound, movement, image, they tell us a story. Going to the movie theatre is like going to see an exhibition.

Narrator: And beyond the cinema-- there are the festivities. As a jury member Rokia Traoré ascends the prestigious red-carpeted stairs almost daily and attends as many gatherings. Hence, gowns are indispensable. One for each day, different forms and colours, to try them on is a great pleasure.

Rokia Traoré: This has the form of the boubou, I like this side of it.

Wardrobe coordinator: As soon as I saw Rokia Touré I knew it would be pastel and light colours, I stay away from beige and greige.

Narrator: Caution, this extravagance will not go to Rokia Touré’s head.

Rokia Traoré: To ascend the red carpet, it’s a great experience, but I also need to have a very simple life.

Narrator voice off with image of Rokia Traoré): For instance, to stroll along the shore of the Niger, a few kilometres from Bamako. She will return there after this enchanting pause, of twelve days immersed in the universe of the 7th art.

BeninDocs 2015: Call for films | Appel à film : Women confronting inequalities…Other perspectives | La femme à l'épreuve des inégalités…Autres Regards

BeninDocs 2015: Call for films | Appel à film : Women confronting inequalities…Other perspectives |  La femme à l'épreuve des inégalités…Autres Regards

Formulaire de candidature | Registration form (in French) : http://www.africadocnetwork.com  Date limite | Deadline : 15-09-2015

[English]

The Africadoc-Benin Association launches a call for films for the third edition of BeninDocs - International Documentary Film Festival will be held from 18 to 25 November 2015 in the cities of Porto-Novo, Cotonou and Paris. This edition has the theme "WOMEN CONFRONTING INEQUALITY... OTHER PERSPECTIVES" and revisits the worldwide women’s rights struggles, while promoting the contemporary perspectives of young filmmakers.

Please register by downloading the form and regulations at: www.africadocnetwork.com; www.if-benin.com. Send a message to: africadoc.bn@gmail.com

[Français]

L'association Africadoc-Bénin lance l'appel à film de la troisième édition du BeninDocs - Festival International du Premier Film Documentaire qui va se tenir du 18 au 25 novembre 2015 dans les villes de Porto-Novo, Cotonou et Paris. Cette édition a pour thème "LA FEMME A L'EPREUVE DES INEGALITES…AUTRES REGARDS", et revisite les luttes d'émancipation de la femme dans le monde, tout en privilégiant le regard contemporain des jeunes réalisateurs et réalisatrices.

Merci d'inscrire vos films en téléchargeant le formulaire et le règlement sur : www.africadocnetwork.com ; www.if-benin.com. Envoyez un mail à africadoc.bn@gmail.com

Links | Liens

Farah Clémentine Dramani Issifou: the 2013 Africadoc Benin and Festival des Nouveaux Cinémas Documentaires (New Documentary Cinemas Festival)

Farah Clémentine Dramani Issifou : Africadoc Benin et le Festival des Nouveaux Cinémas Documentaires 2013

ARTE: Trop noire pour être française ? | Too black to be French? by/de Isabelle Boni-Claverie

ARTE: Trop noire pour être française ? | Too black to be French? 
by/de Isabelle Boni-Claverie

Un documentaire d’Isabelle Boni-Claverie | A documentary by Isabelle Boni-Claverie

Une coproduction : Arte France, Quark Productions (France 2015, 53 min).

Sur ARTE: Vendredi 3 juillet 2015 à 23:05 | On ARTE: Friday 3 July 2015 at 23h05

Source: arte.tv. Translation from French by Beti Ellerson

[English]

Filmmaker Isabelle Boni-Claverie, a black woman who grew up in a privileged environment, has none of the supposed social handicaps that could impede social integration. And yet, she is often an object of discrimination. Has the Republic lied to her? A brazen question illuminated by the analysis of Eric Fassin, Pap Ndiaye and Achille Mbembe regarding the inequalities of our society.

In 2010, offended by the racist comments of Jean-Paul Guerlain on the France 2 telejournal, Isabelle Boni-Claverie organised several demonstrations on the Champs Élysées, negotiated with the LVMH group and obtained a series of measures to promote diversity. However, this incident, which she documents in the film, left her with a bad taste. How is it that today, in France, this is still happening? In response to this question, using a first-person approach, the filmmaker leads an investigation.

She invokes the model story of her grandparents, an interracial couple of the 1930s. Reflecting on her upper-middle-class childhood, she probes the relationship between class and race. Not without humour, in the manner of: “You know you are black when…”, she asks would-be interlocutors to testify before the camera about the exasperations that they experience. Both personal and collective, the film does not hesitate to call existing policies into question.

[Français]

La réalisatrice Isabelle Boni-Claverie est noire. Elle a grandi dans un milieu privilégié et ne présente aucun des handicaps sociaux supposés freiner son intégration. Pourtant, elle est régulièrement victime de discriminations. La République lui aurait-elle menti ? Une réflexion impertinente éclairée par les analyses d’Eric Fassin, Pap Ndiaye et Achille Mbembe sur les inégalités de notre société.

En 2010, indignée par les propos racistes de Jean-Paul Guerlain au JT de France 2, Isabelle Boni-Claverie monte plusieurs manifestations sur les Champs-Élysées, négocie avec le groupe LVMH et obtient une série de mesures en faveur de la diversité. Cet épisode, qu’elle documente dans le film, lui laisse cependant un goût amer. Comment se fait-il qu’aujourd’hui, en France, on en soit encore là ? Pour répondre à ces questions, la réalisatrice mène une enquête à la première personne.

Elle convoque l’histoire exemplaire du couple mixte formé par ses grands-parents dans les années 30. Elle revient sur son enfance dans la haute bourgeoisie et interroge le rapport entre classe et race. Non sans humour, elle demande à des anonymes de venir témoigner devant la caméra des vexations qu’ils subissent, sur le mode « Tu sais que tu es noir(e) quand... ». Un film à la fois intimiste et sociétal qui n’hésite pas à remettre en cause les politiques en place.

Teaser: in French | En français

Links | Links

Entretien avec Isabelle Boni-Claverie

A Conversation with Isabelle Boni-Claverie

Sudanese Marwa Zein launches the Indiegogo crowdfunding for film project "One Week, Two Days"

Photo: Marwa Zein Website

Marwa Zein launches Indiegogo crowdfunding for the film project "One Week, Two Days"

For more information on the Indiegogo campaign and to make a contribution: https://www.indiegogo.com/projects/one-week-two-days-short-film 

Marwa Zein had this to say to Beti Ellerson about the film project "One Week, Two Days". 

Relationships, people, fear, time. Is time against love? Our film is about love, time, sharing, communication and anxiety. A film that spans a nine-day period and what may happen to any couple during that time. A film about different points of view that are not discussed because it happens all the time. 

Love scenes are hard to make, and going through intimate details between a man and a woman is very difficult. And what is even more difficult is to find someone who is willing to finance it, especially when it's a short film. But it is not difficult to find people who are interested and willing to help us make the movie. We are proud that almost half of the crew are women. And we are happy that the other half are men: in order to oppress them! We are happy to work together on a film that could be about any couple anywhere in the world. 

About Marwa Zein

Sudanese filmmaker and scriptwriter Marwa Zein was born in Saudi Arabia and lived in Cairo, Egypt. After studying chemical engineering for three years, she decided to pursue her passion for film at the High Institute of Cinema in Cairo, graduating with an honorable mention in 2009.

From 2009 to 2014, Marwa Zein has honed her filmmaking skills at diverse talent campuses, master classes and film workshops: Berlin Talent Campus, Durban Talent Campus, film workshops conducted by Haile Gerima at the Luxor African Film Festival and the Silver Docs AFI Documentary workshop, and international master classes with Tom Tykwer, Jihan El Tahri, Threes Ann and Darine Hotait.

Her film Layl, developed at the Cinephilia Screenwriting Lab for Shorts, received an honorable mention in 2014. Her short film A Game was selected at the 2010 Cannes Short film Corner and has won awards at many festivals including: Sao Paolo International Short Film Festival, Michigan Short Film Festival, Avignon International Short Film Festival, Qartaj Short Film Festival, Ismailia International Short Film Festival.

ADAPTED FROM INDIEGOGO CROWDFUNDING DESCRIPTION

Nine days between a loving couple from the Middle East, where intimacy and relationships are hard to discuss in real life and in films.

In a sarcastic yet romantic way, the film relates very small though important details that happen between a woman and a man; which is something relatively new to the Arab short film industry.

As filmmakers we are bound by market requirements and rules, and as Arab artists we are always hounded by constant censorship that thwarts our imagination and redefines our words.

         We want to make films based on our own desires: that are true, free and our own!

One Week, Two Days - Crowd Funding Campaign from Marwa Zein on Vimeo.

Link:

Marwa Zein Website 

The 2015 New York African Film Festival Honors Women!

The 2015

New York African Film Festival Honors Women!

Screenings for Tuesday, May 12th, 2015

4:00    100% DAKAR Sandra Krampelhuber, Austria/Senegal, 2014, 62min and THE PROPHECY Marcia Juzga, Senegal, 2015, 20min.

6:00   Women in the Media - Shorts Program #2

Introduction by MaameYaa Boafo and Nova Scott-James

THE SUMMER OF GODS
Eliciana Nascimento, Brazil, 2014, 20min; co-presented by Cinema Tropical

A young girl named Lili connects with her Afro-Brazilian religious heritage on a summer visit with family to their ancestral village in rural Brazil. During her stay, she encounters orishas (African gods) who help her find peace with a gift that had previously vexed her.

BURKINA, ALL ABOUT WOMEN 
Nicole Mackinlay Hahn, USA/Burkina Faso, 2015, 11min.
 

Seeking to undo stereotypes about African women by looking at the professional lives of women in Burkina Faso, the film talks to a firefighter, a swimmer, a mushroom biologist, a mechanic, an astrophysicist, a rapper, and more—allowing women (all inspired by the legendary Princess Yennenga) to give voice to their own unique experience.

HANDMADE IN THAMAGA 
Nova Scott-James, USA/Botswana, 2014, 5min.
 

Handmade in Thamaga chronicles the founding and work of Bothlalo Centre, a women’s pottery collective and business in the small rural village of Thamaga, Botswana.

BUS NUT
Akosua Adoma Owusu, Ghana/USA, 2014, 7min.
 

Bus Nut rearticulates the 1955 Montgomery Bus Boycott, a political and social protest against U.S. racial segregation on the public transit system of Montgomery, Alabama, and its relationship to an educational video on school-bus safety. Actress MaameYaa Boafo restages a vintage video while reciting press-conference audio of Rosa Parks on a re-created set in New York City.

SISTER OYO (SOEUR OYO)
Monique Mbeka Phoba, Belgium/Democratic Republic of the Congo, 2014, 24min.
 

Set in the Belgian Congo in the 1950s, Sister Oyo tells the story of Godelive, a schoolgirl at the Catholic boarding school Mbanza-Mboma, the premier French-language school for Congolese girls. She is to be westernized, following the will of her parents, but the memory of her grandmother intervenes…

CHOLO
Muzna Almusafer, United Arab Emirates/France, 2014, 21min.
 

The dark-skinned 11-year-old Cholo meets his fair-skinned younger stepbrother Abdullah for the first time. Although strikingly different, the two boys enjoy a crackling chemistry.

PANIC BUTTON
Libby Dougherty, South Africa, 2014, 25min.
 

From the moment that Tshepo, a security guard, breaks through Jenny’s multi-locked door to save her, she feels as if she’s been swept off her feet. But as Jenny imagines herself falling in love with him, an unhealthy, delusional obsession begins to take shape.

9:00   MOSSANE Safi Faye, Senegal, 1996, 105min.