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.

27 September 2012

Report on the 6th edition of the International Women Festival of Salé (Morocco)


A report on the closing ceremony of the 6th edition of the International Women Festival of Salé by Amina Barakat (Rabat)


The city of Salé, separated from the Moroccan capital Rabat by the Bou Regrag River, also has a festival dedicated to women.

From 17 to 22 September 2012, the 6th Edition of the International Women Festival of Salé was on target with many activities. Eve was very present, taking part in the festival as actress and director. In addition, films by male filmmakers focusing on women were included.

The opening film, Allemanya, a German production by the director Yasmin Samdereli of Turkish origin, dealt with the question of identity as a six-year-old child is rejected by his friends. Twelve films were in competition as follows: Morocco with the film Androman…of Blood and Carbon by Az larabe Alaoui; Egypt represented by the film Asmaa by Amr Salama; Djeca (Children of Sarajevo), a production from Bosnia-Herzegovina directed by Aida Begic;  Hanezu by Naomi Kawase of Japan; Holland was represented by the film Black Butterflies about the South African poet Ingrid Jonker directed by Paula van der Oest; the United States also answered “present” at the festival with the film entitled La dernière piste by Kelly Reichardt; and the German filmmaker Jan Schomburg was part of this edition with his film, Above Us Only Sky; Christine François from France participated with a French-Benin co-production entitled The Secret of the Ant Children; another co-production, this time the Franco-Swiss film, The Child from Above directed by Ursula Meier; Russian Angelina Nikonova presented her film, Twilight Portrait; the film Rania by Brazilian Roberta Marques was also presented; and finally the filmmaker Andrès Wood participated with the film Violeta Went to Heaven, a Latino-American co-production (Chile and Argentina).

As usual, a tribute was made to four women of cinema:  Nouzha Drissi, who died 4 December 2011 while preparing the 4th edition of the documentary film festival that she founded; nationally renowned Moroccan actress Amina Rachid; the Egyptian Taysser Fahmi, known for her political engagement and a notable figure at Tahrir Square in Cairo at the time of the 25 January 2011 revolution; and finally the Iranian Fatemeh motamed Arya also committed activist for women and children’s rights.

During the evening of Saturday 22 September, Salé set the date for another meeting at the 7th edition 2013 as the results of the jury were announced. The jury members, composed solely of women filmmakers and actresses, included: Aruma Vasidev of India, founder of the Asia Film Festival of New Delhi; Egyptian actress and television series star Abeer Sabir; Iranian actress Fatemeh motamed Arya; filmmaker and producer Fanta Régina Nacro of Burkina Faso; for Morocco the host country, was filmmaker Salma Bargach; and French actress and filmmaker (and singer when necessary) Myriem Mezieres.

The closing ceremony of this edition caused delight for the Japanese director Naomi Kawase with the film Hanezu, which won the grand prize of the festival; and Az ara Aloui with his film Androman…of Blood and Carbon, which shared the Jury Prize with the Chilean film Violeta Went to Heaven by Andrès Wood.

The prize for the best actress went to Karis Van Houten from Holland for her role in the film Ingrid Jonker, while actor Kacey Motte Klein won the prize for the best actor in the film The Child from Above; the best screenplay went to the Russian film Twilight Portrait, and for the Jury’s Honorable Mention, to Amr Salama of Egypt for the film Asmaa

This edition also announced the creation of the Union of Moroccan Filmmakers and Authors (URAM) whose objective is to contribute to the professionalisation of cinema; its president is the young filmmaker Nawfal Barraoui.

Clôture de la 6ème édition du festival international du film de femmes de Salé


Compte-rendu de la 6ème édition du Festival International du Film de Femmes de Salé par Amina Barakat (Rabat)


La ville riveraine de Salé séparée de Rabat, la capitale du Maroc ; par le fleuve Bouregreg, a aussi son festival, mais cette fois la femme est à l’honneur. Elle est à sa 6ème édition.

Le festival International du film de Femmes de Salé était bien au rendez-vous puisque, les activités se sont déroulées du 17 au 22 septembre 2012 ; et comme à la coutume, Eve est bien présente ; elle est donc venue prendre part au festival en tant qu’actrice et réalisatrice, en plus des films faits par les hommes et dont le sujet est axé sur la femme.

« Allemanya », une production allemande de la réalisatrice Yasmin Samdereli d’origine turc a ouvert le bal, avec un sujet qui pose la question d’identité d’un enfant de 6ans rejeté par ses camarades.La compétition comprend 12 films en lice, ils représentent; le Maroc avec le film « Androman…de sang et de charbon » de Az larabe Alaoui, l’Egypte représenté par « Asmaa » du réalisateur Amr Salama, « Djeca (enfants de Sarajevo) » une production de la Bosnie Herzégovine réalisé par Aida Begic, « Hanezu » de la japonaise Naomi Kawase, la Hollande a été représentée par « Black Butterflies » sur la vie de la poète Sud-Africaine Ingrid Jonker, réalisé par Paula van der Oest. Les Etats Unis ont aussi répondu présent au festival par le film intitulé « La dernière piste » de Kelly Reichardt. Et c’est le réalisateur Allemand Jan Schomburg qui a pris part à cette édition avec son film « L’amour et rien d’autre ». La française Christine François, elle a participé avec une coproduction franco-béninoise dont le titre est « Le secret de l’enfant fourmi ». Une autre coproduction franco-suisse réalisée par Ursula Meier, il s’agit de « l’enfant d’en haut venant du loin ». La russe Angelina Nikonova a présenté son film « Portrait au crépuscule », le film « Rania » de la brésilienne Roberta Marques était aussi de la partie, et finalement le réalisateur Andrés Wood qui a participé avec le film « Violeta s’en est allée au ciel », une coproduction latino-americaine (Chili et l’Argentine).

Comme de coutume , un hommage a été réservé à quatre dames du cinéma, il s’agit donc de la réalisatrice marocaine Nouzha Drissi décédée le 4 décembre 2011 alors qu’elle prépare la 4ème édition du festival du film documentaire qu’elle avait créé auparavant; Amina Rachid, une actrice marocaine de renommée au niveau national, l’égyptienne Taysser Fahmi connue par son engagement politique et star de la place tahrire au Caire lors de la révolution du 25 janvier 2011, et enfin l’Iranienne Fatemeh motamed Arya qui est également une militante acharnée du droit de la femme et l’enfant.

À la soirée du samedi 22 septembre, Salé a donné un autre rendez-vous pour une 7ème édition 2013 sur la note des résultats de la délibération du jury composé exclusivement de femmes actrices et réalisatrices qui sont : l’indienne Aruna Vasudev, une personnalité du cinéma indien, fondatrice du festival du cinéma asiatique à New Delhi. Les membres sont la comédienne égyptienne Abeer Sabri, Star des séries télévisuelles, l’Iranienne Fatemeh motamed Arya actrice, et Fanta Régina Nacro, réalisatrice et productrice du Burkina Faso; pour le Maroc, pays d’accueil c’est la réalisatrice Salma Bargach qui le représente et enfin la française Myriem Mezieres, actrice et réalisatrice, et aussi chanteuse quand il le faut.

La clôture de cette édition a donc fait des heureux, tels que la réalisatrice japonaise du film Hanezu, qui s’est attribué le grand prix du festival, et Az larab Aloui avec son film « Androman…de sang et de charbon » qui a remporté le prix du jury ex–aequo avec le film chilien « Violeta est allée au ciel ».

Le prix de la meilleure actrice est venu à la néerlandaise Karis Van Houten pour son rôle dans le film « Ingrid Jonker »; au niveau des acteurs c’est Kacey Motte Klein qui a remporté le prix; le meilleur scénario est allé au film russe « Portrait au crépuscule », reste à signaler que le film « Asmaa » de l’égyptien Amr salama a eu la mention spéciale du jury.

Cette édition a aussi vu naitre, l’Union des réalisateurs et auteurs marocains (URAM), qui s’est fixé comme objectif, la contribution à la réglementation des professions du cinéma, son président est le jeune réalisateur Nawfal Barraoui.

21 September 2012

Commemorating the International Day of Peace: The Night of Truth by Fanta Nacro


On the occasion of the International Day of Peace, 21 September, we highlight the film, The Night of Truth (2005) by Fanta Nacro to reflect on peace, "both within and among all nations and peoples", the message that the United Nations wanted to convey by declaring this Day.


The Night of Truth (La Nuit de la Vérité), the audacious feature debut of the award-winning Burkinab female director Fanta Rgina Nacro. Set in an unnamed African country, after ten years of bloody war, The Night of Truth dramatises the process of truth and reconciliation, echoing the recent histories of South Africa, Sierra Leone and Rwanda, and highlights not only the female perspective but also the subtleties and complexities of learning to live together again in trust and respect.

Genocide, raw and recent, is not far from the minds of the Nayak and Bonandé peoples who have been locked in a decade of bloody ethnic conflict. Now, the President (commander of the Nayak national army) and Colonel Theo (controller of the rebel Bonand army) are determined to end the conflict. A celebration is arranged, but cynicism remains on both sides and - as the evening wears on - tension mounts. Not only have drums been banned from the musical entertainment, because, in the past, they were used as a call to arms, but many of the women, notably the president's wife Edna, cannot simply forgive and forget. The evening comes to a climax when the village jester Tomota, a Nayak-hater, indignantly decides to beat the drums during the festivities. The sound becomes a trigger that releases the feelings of distrust and fear that have been suppressed by both sides.

The Night of Truth was conceived in memory of Fanta Nacro's uncle, accused of inciting a coup, and who was murdered in a horrifically brutal way. Compelling performances from a cast of mainly non-professional actors lend an eerie authenticity to film (all of the men are played by members of the Burkina army). The professional actress Naky Sy Savané is particularly outstanding in her role as Edna, who is grief-stricken over her son's death and harbours a bitter lust for revenge. Her brooding performance conjures an atmosphere of sinister foreboding, demonstrating the extent to which official peace deals are undermined by the lasting psychological wounds inflicted by war.

Fanta Nacro was the first woman from Burkina Faso to direct a fiction film (the short Un Certain matin) and The Night of Truth, which has won awards at film festivals around the world, is a stunning example of the rise of African women filmmakers, bringing a new voice and perspective to African cinema.

Commémoration de la journée internationale de la paix : La nuit de la vérité de Fanta Nacro


À l'occasion de la journée internationale de la paix, 21 septembre, nous mettons en exergue le film, La nuit de la vérité (2005) de Fanta Nacro pour réfléchir à la paix "tant au sein des nations et des peuples qu'entre ceux-ci", le message que l'Organisation des Nations Unies voulait faire passer en consacrant cette Journée.


Un pays imaginaire d'Afrique noire. Après dix ans d'une guerre ethnique sanglante, un traité de paix vient d'être signé entre les Nayaks, ethnie du Président, et les Bonandés, opposants rebelles regroupés autour du Colonel Théo.

Ce dernier s'apprête à organiser chez lui une fête de la réconciliation à laquelle assisteront le président et son épouse. L'épouse du président n'oublie pas que son fils aîné a été massacré par les rebelles. Au fil de la nuit, les blessures se rouvrent et les conflits renaissent dans l'ombre. Tout semble se jouer sur le fil du rasoir. La tension monte peu à peu et la réconciliation semble vouée à l' échec. Pourtant, dans un moment de confusion extrême, certains protagonistes réussissent à arrêter l'engrenage de la haine, laissant espérer à tous une paix durable.

Quelque part en Afrique. Après dix ans d'une guerre civile sanglante, les Nayaks, ethnie du Président, et les Bonandés, rebelles rassemblés autour du Colonel Théo, sont sur le point de célébrer les accords de paix en organisant une fête de la réconciliation.
Mais le souvenir encore vivace des atrocités commises de part et d'autre assombrit peu à peu les festivités.

Fanta Régina Nacro laisse de côté l'humour de ses premiers courts-métrages pour témoigner sans détours de la violence de la guerre tout en défendant avec force l'idée d'une possible réconciliation entre les peuples.

"Comment oublier le Rwanda, le Soudan, le Congo… je voudrais faire de ce film une action contre l'atrocité, les conflits ethniques, la cruauté et la haine de l'homme".

Fanta Régina Nacro

Note d'intention

"Les bourreaux aiment la nuit, les assassins ont peur du jour".
Zehor Zerari, poète algérien

La nuit de la vérité est un film écrit à la mémoire d'un homme.
Accusé d'avoir fomenté un coup d'état, il fut d'abord torturé et emprisonné.

Une nuit, des hommes préparèrent un barbecue, l'attachèrent et le firent cuire à petit feu jusqu'au matin. À sept heures du matin, il mourait atrocement.

Cet homme était mon oncle.

Il y eût aussi ce vendredi noir où des musulmans de mon quartier, à Ouagadougou, s'entretuèrent à coups de couteaux et de machettes parce qu'ils ne s'entendaient pas sur le choix du nouvel imam. Des sages ont pu calmer les esprits et éviter une guerre civile.

Enfin, comment oublier la Yougoslavie, le Rwanda, le Burundi, le Soudan, le Zaïre, le Congo … mais aussi tant d'autres pays du monde confrontés à des guerres civiles ? Sur le thème des rivalités ethniques, nous avons voulu écrire un drame "shakespearien".

La violence et la cruauté n'y sont pas exposées avec complaisance, mais intégrées à une progression dramatique.


20 September 2012

Feminist Africa : Le féminisme africain s’engage avec le cinéma


Le féminisme africain s’engage avec le cinéma
Les auteur(e)s—réalisatrices, organisatrices, distributrices, théoricien(ne)s et critiques du cinéma—des articles du présent numéro proposent d’approfondir et de nuancer notre engagement avec le cinéma et l’industrie cinématographique. Confrontées à une histoire d’assujettissement colonial, de l’esclavage et de l’hégémonie culturelle contemporaine créée par la globalisation, les femmes d’Afrique ont été effacées et leur image déformée par la rapacité d’intérêt de certains, et en conséquence ces actes ont eu des effets délétères sur notre bien-être.

Feminist Africa, une revue en anglais disponible sur l’internet, présente son numéro 16 2012 « Le féminisme africain s’engage avec le cinéma ». Fondée par Amina Mama, universitaire, ecrivaine, théoricienne et productrice, Feminist Africa a pour but « d’offrir une tribune afin de développer une recherche progressive et innovante sur le genre et une dialogue féministe visant le continent ». Avec Amina Mama, ce numéro est dirigé par l’ecrivaine et cinéaste Yaba Badoe et la cinéaste et professeure Salem Mekuria.

Éditorial
African Feminist Engagements with Film (Le féminisme africain s’engage avec le cinéma)
– de Yaba Badoe, Amina Mama et Salem Mekuria

PLUS EN PROFONDEUR
Representation and Self Representation (Représentation et représentation de soi)
– de Salem Mekuria
New Looks: The Rise of African Women Filmmakers (Nouveaux Looks : L’émergence des réalisatrices africaines)
– de Lindiwe Dovey
Reflections on Cinema Criticism and African Women (Réflexions sur la critique cinématographique et les femmes africaines)
– de Beti Ellerson
Challenging the Status Quo: A Feminist Reading of Shirley Frimpong-Manso's Life and Living it (Contester le statu quo : un regard féministe sur « Life and Living it » un film de Shirley Frimpong-Manso)
– de Kwamena Kwansah-Aidoo et Joyce Osei Owusu
Strategising for Success: Re(packing) to Re(present) (Elaborer une stratégie pour réussir : Ré[emballer] pour re[présenter])
– de Jihan El Tahri
Reflections on Making Witches of Gambaga (Réflexions sur mon film « Les sorcières de Gambaga »
– de Yaba Badoe
Women and the Dynamics of Representation: Of Cooking, Cars and Gendered Culture (Les femmes et la dynamique de représentation : de la cuisine, des voitures et de la culture de genre)
– de Abena P. A. Busia

EN CONVERSATION

POINT DE VUE
Adventures from Our Bedrooms - Blogging about diverse exotic experiences (Les aventures dans nos chambres : Blogger sur les expériences exotiques diverses)
- de Nana Darkoa Sekyiamah

PROFIL
Black Pride Brazilian Style: The 5th Encontro de Cinema Negro Brasil Africa et Caribe (La fierté noire à la brésilienne : La 5ème Encontro du cinema negro Brasil Africa e Caribe) 
- de Yaba Badoe
Beit Sha'ar- Nomad's Home (Beit Sha’ar)
- de Iman Kamel

COMPTE-RENDU
Witches of Gambaga (Les sorcières de Gambaga)
– de Sokari Ekine
- de Yaba Badoe

CONTRIBUTRICES ET CONTRIBUTEUR

19 September 2012

Women and Intangible Cultural Heritage: The experience of the “creative” documentary film in sub-Sahara Africa


Women and Intangible Cultural Heritage: The experience of the “creative” documentary film in sub-Sahara Africa by Bertrand Cabedoche, professor of Sciences de l’Information et de la Communication and in charge of the chair of Unesco Communication internationale de l’Université Stendhal-Grenoble.

Bertrand Cabedoche introduces the study with a quote by Pierre Perrault followed by a provocative observation of the film, Une fenêtre ouverte (An open window) by Senegalese director Khady Sylla, both of which set the tone for his research on the documentary filmmaking of women as intangible cultural heritage. Below is an elaboration of the English abstract of the French text. Read the entire text in French| Lire le texte dans son intégralité

“We began to see ourselves the day that we stopped seeing ourselves through the eye of our neighbour.” (Pierre Perrault. ONF. Canada)

Aminta Ngom is mad. Her pain cries out on screen. Director Khady Sylla films this malaise, sometimes behind the camera, sometimes on the screen. In making this film, atypical in its treatment of madness as a theme (a very sensitive topic as it crosses the line of a reality that is not revealed publicly), Khady Sylla conducts her own therapy, pushing the limits of the unspeakable. “I see what others cannot see, explaining it to those who have not experienced this suffering that plagues the world.” Beyond this very encouraging artistic critique, it is symbolic of an African cinema renewal. Moreover, the above reinforces Africadocs’ investment in the initiative. The Africadocs Association has worked to build new relationships within the filmmaking sector and to renew terms with all stakeholders, especially with women. From this special experiment, the anthropological gaze on the African woman emerges transformed, directed by the African woman herself, as subject, filmmaker and producer of her own image.

The genre and format of the documentary (52 minutes on the screen) across all productions, seem particularly well suited to the continent, in terms of film projects in general. The importance of the scriptwriting workshops, which have expanded to a dozen African countries since 2003 (Senegal, Mali, Burkina Faso, Togo, Gabon, Mauritania, Congo, Niger, Cameroon, Cape Verde ...) is indicative of the crop of projects that has emerged from them attesting to the need to document, to influence the way Africa is represented to the world, to confront social contradictions, and even to fantasise, especially when the issues deal with the reality of African women’s lives. For it is on this experience that both male and female documentarist focus in search of a new aesthetic, as well as a renewed écriture regarding social issues, past and present, but that are also in constant evolution.

Within this context, the university institution is fully involved right from the start of the training of future African documentarists, at the same time encouraging an academic distance, in order to strive towards building an intangible heritage as a common property of Humanity. Above all, it reveals a new understanding of intangible heritage as is encouraged by the Convention for the Safeguarding of Intangible Cultural Heritage, signed by UNESCO on 17 October 2003, designating “the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage.” (art. 2.1)

Image source: GRECIREA logo

Femmes et patrimoine culturel immatériel : l'expérience du film documentaire de création en Afrique sub-saharienne


« Femmes et patrimoine culturel immatériel : l'expérience du film documentaire de création en Afrique sub-saharienne » par Bertrand Cabedoche. Source : Groupe d'étude cinéma du réel africain, journées d’études

Résumé :

Aminta Ngom est folle. Elle crie sa souffrance à l’écran. En réalisant ce rare film documentaire, parfois derrière la caméra, parfois à l’écran, la réalisatrice Kadhy Sylla procède à sa propre thérapie pour dépasser les limites de l’indicible. Au-delà d’une critique artistique extrêmement encourageante, symbole du renouveau du cinéma africain, l’expérience conforte l’investissement d’Africadoc. Travaillant à construire de nouveaux rapports au sein de la filière de l’industrie cinématographique, l’association aide à renouveler les formes d’expression de l’ensemble des acteurs, notamment celles des femmes elles-mêmes. De cette expérimentation exceptionnelle, le regard anthropologique sur la femme africaine en ressort transformé, dirigé par la femme africaine elle-même, sujet, réalisateur et producteur de sa propre mise en scène. Dans ce dispositif, l’institution universitaire se montre totalement partie prenante, dès la formation des futurs animateurs du cinéma documentaire africain, encourageant parallèlement à la distanciation académique et œuvrant à constituer le patrimoine immatériel en bien commun de l’Humanité. Lire le texte dans son intégralité

Image source: GRECIREA logo

18 September 2012

Feminist Africa: African Feminist Engagements with Film


The perspectives of our contributors –makers, organizers, distributors, theorists and critics of film- all offer to deepen and nuance our understanding of the manner in which we engage with various aspects of film and the film industry. These include the history of colonial subjugation and enslavement, as well as contemporary global cultural regimes, all of which have operated to erase and mis-represent women from Africa and to service the appetites and cravings of others, in ways that were often at the very least inimical to our well-being. 

Feminist Africa presents its Issue 16 2012, "African Feminist Engagements with Film".  Founded by noted scholar, writer, theorist, and film producer Amina Mama, its aim is "to provide a forum for progressive, cutting-edge gender research and feminist dialogue focused on the continent." The Issue 16 2012 is co-edited by writer and filmmaker Yaba Badoe and filmmaker and professor Salem Mekuria.

Editorial
– by Yaba Badoe, Amina Mama and Salem Mekuria

FEATURES
– by Salem Mekuria
– by Lindiwe Dovey
– by Beti Ellerson
– by Kwamena Kwansah-Aidoo and Joyce Osei Owusu
– by Jihan El Tahri
– by Yaba Badoe
– by Abena P. A. Busia

IN CONVERSATION

STANDPOINT
- by Nana Darkoa Sekyiamah

PROFILE
- by Yaba Badoe
- by Iman Kamel

REVIEW
– by Sokari Ekine
- by Yaba Badoe


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

14 September 2012

African Women in Cinema on "Pinterest"

Browse the African women in cinema page on the social media network Pinterest.

The African Women in Cinema "boards" include an array of categories and are constantly updated, with new "pins" and "boards":

- Centre for the Study and Research of African Women in Cinema
- Blogging Women
- Behind the Lens
- On the Screen
- Pioneers
- Film and Culture Criticism
- Websites of African Women in Cinema
- Visualising Stories
- Trailers and Film Clips
- California Newsreel (Library of African Cinema) Collection
- Médiathàque 3 Mondes Collection
- Women Make Movies Collection
- African Film Library Collection
- Diverse Collections
- In the Industry
- Conferences | Seminars
- Research-Scholarship
- Works in Progress
- Festivals
- Entretiens en français
- Interviews in English
- Resources
- Women's Film Organisations

And you need not "sign up" in order to view them.

NOTE: ALL IMAGES AND CONTENT "PINNED" ON PINTEREST ARE LINKED TO THEIR ORIGINAL SOURCE.

Le cinéma d'afrique au féminin sur Pinterest

Nous vous invitons de parcourir notre page sur le reseau social Pinterest pour vous familiariser avec les divers thèmes concernant les femmes africaines dans le cinéma.

La page African Women in Cinema est un mur virtuel sur lequel on accroche les "planches" classées sous les thématiques et mises à jour régulièrement avec les nouvelles "punaises" :

- Centre for the Study and Research of African Women in Cinema
- Blogging Women
- Behind the Lens
- On the Screen
- Pioneers
- Film and Culture Criticism
- Websites of African Women in Cinema
- Visualising Stories
- Trailers and Film Clips
- California Newsreel (Library of African Cinema) Collection
- Médiathàque 3 Mondes Collection
- Women Make Movies Collection
- African Film Library Collection
- Diverse Collections
- In the Industry
- Conferences | Seminars
- Research-Scholarship
- Works in Progress
- Festivals
- Entretiens en français
- Interviews in English
- Resources
- Women's Film Organisations

Nous avons l'intention aussi d'afficher les planches (boards) et punaises (pins) en français.

Et d’ailleurs, vous n’avez pas besoin de vous inscrire pour y parcourir.

13 September 2012

Some Prefer Cake - Bologna Lesbian Film Festival - Italy 2012



With a rich international selection in lesbian cinema, the festival proposes four days of film screenings (fiction, documentaries, short and animation),  as well as exhibitions, debates and exchanges with the public.

Visual activist Zanele Muholi will be the guest of honour of the 6th edition of Some Prefer Cake with an exhibition and audiovisual projects focusing on the life of lesbians in South Africa. Continuing this rich exploration of lesbian histories with U.S.-based Indian filmmaker and gay activist Sonali Gulati on the victory of the LGBT Movement against the Section 377 of the Indian Penal Code criminalising homosexuality, and finally a focus on theory with a tribute to two principal figures of U.S. lesbian thought, the late poet, activist and writer Audre Lorde (with the latest film about Lorde), and theorist and poet Adrienne Rich who died in March this year.

Some Prefer Cake - Le Festival du film lesbien de Bologne 2012



Quatre jours de projections de films (fiction, documentaire, court-métrage et animation) qui représentent des meilleurs films lesbiens du monde entier, ainsi que des expositions, débats et rencontres avec le public.

Zanele Muholi, activiste visuelle, sera l'invitée et la vedette de Some Prefer Cake (Certaines préfèrent du gâteau), avec une exposition et une projection de projets audiovisuels consacrés à la vie des lesbiennes en Afrique du Sud. Également, dans la reconstruction des histoires lesbiennes, avec l'Indienne Sonali Gulati basée aux Etats-Unis sur la victoire du mouvement LGBT contre la section 3777 du Code pénal indien criminalisant l’homosexualité. Et finalement un regard sur la théorie en rendant hommage à deux figures fondamentales de la pensée lesbienne aux États-Unis, la regrettée, Audre Lorde, poète, militante et écrivaine, et Adrienne Rich, théoricienne et poète, décédée en mars cette année.


12 September 2012

The International Women Film Festival of Salé in Morocco (6th Edition - 17-22 September 2012)


The 6th Edition of the International Women Film Festival of Salé in Morocco will be held 17-22 September 2012.

The purpose of the Festival is to underscore women’s artistic cinematographic contributions. Moreover to give women and women of the moving image in front of, on and behind the camera, the recognition that they deserve.

This edition, which marks its coming of age, is devoted in particular to “women’s cinema”.

The general programme includes:

- An official competition of recent feature films (2012, 2011) focusing on women-related themes.

- A tribute to Argentinean cinema.

- A perspective on independent cinema (a forum and screening of a selection of films representing a generation of filmmakers that have emerged during the last two decades and who have focussed on issues relating to women in the Maghreb and the Mashrek).

- Special screenings of films (feature and documentary) which represent a particular sensitivity to women focussed subjects.

- A window on Moroccan feature and short films directed by Moroccan female filmmakers and talented young people.

- A forum entitled, “independent cinema, present and future” highlighting the experiences of the Sundance Institute of the United States, the French-based l’Agence pour le Cinéma Indépendant et sa Diffusion, la Chambre Nationale des Producteurs de Films in Morocco and the Tunisian-based Association des Réalisateurs de Films.

- A cinema lesson: a testimony of the rich and wide-ranging career of Egyptian filmmaker Ossama Fawzi.

- A scriptwriting workshop facilitated by Moroccan and international professionals.

Tributes to four women:

- Taiseer Fahmy, Egyptian actress.

- Amina Rachid, Moroccan actress.

- Fatemeh (Simin) Motamed Arya, Iranian actress and activist for women and children’s rights.

- A posthumous tribute to Nezha Drissi (also known as Nouzha Drissi), producer and founder of FIDADOC in Agadir, Morocco.

Festival International du Film de Femmes de Salé au Maroc (6ème édition - 17-22 septembre 2012)


La 6ème édition du Festival International du Film de Femmes de Salé au Maroc se déroulera du 17 au 22 septembre 2012.

Le Festival International du Film de Femmes de Salé a pour finalité de mettre en exergue tout apport artistique cinématographie à même de donner à la femme et de la femme l’image qu’elle mérite devant, sur et derrière l’écran.

Cette édition qui marque le passage à la maturité se positionne en tant que manifestation consacrée spécialement au « cinéma féminin ».

Le programme général comporte :

- Une compétition officielle de films de long métrage récents (2012_2011), traitant la thématique de la femme.

- Un hommage au cinéma argentin invité du Festival.

- Un regard sur le cinéma indépendant par l’organisation d’un forum sur le sujet et par la projection d’une sélection de films représentant une génération de réalisateurs qui a émergé ces deux dernières décennies et ayant une sensibilité aux problèmes de la femme au Maghreb et au Machrek.

- Des projections spéciales de films et de documentaires dont certains ont une sensibilité particulière avec le thème de la femme.

- Une fenêtre sur le long métrage marocain et le court métrage réalisé par des réalisatrices marocaines, jeunes talents.

- Un forum sur « le cinéma indépendant actualité et avenir » en mettent en exerque l’expérience de « Sundance Institute » aux U.S.A, l’Agence pour le Cinéma Indépendant et sa Diffusion en France, la Chambre Nationale des Producteurs de Films au Maroc et l’Association des Réalisateurs de Films en Tunisie.

- Une leçon de cinéma, témoignage d’un parcours riche et diversifié du réalisateur égyptien Ossama Fawzi.

- Des ateliers d’écriture de scénario encadré par des professionnels marocains et étrangers. 

Quatre hommages seront rendus : 

- Taiseer Fahmy, comédienne, Égypte

- Amina Rachid, comédienne, Maroc

- Fatemeh (Simin) Motamed Arya, comédienne, Militante des droits de la femme et des enfants, Iran

- À titre posthume : Nezha Drissi (parfois créditée sous le nom de Nouzha Drissi), productrice, fondatrice du FIDADOC à Agadir, Maroc.

10 September 2012

Call for proposals: NFVF Women Filmmakers Project (South Africa)


05 September 2012: The National Film and Video Foundation invites all eligible female filmmakers to respond to the Call for Proposals for the production of a low budget film aimed at female filmmakers as part of the Tier 2 development process.

BACKGROUND

The concept for the Female Only Filmmaker Project is to provide recent female entrants into the industry, particularly those from historically disadvantaged backgrounds, with an opportunity to make a film in collaboration with other women. Successful applicants will be guided in the development of their stories into 48 minute scripts over a period of 5 months.

The ten best scripts will then be work shopped for camera in preparation for the production of the films over a five week period. During this process each director will be provided with the necessary tools to break down scripts for camera as well as detailed strategies for extracting the best performances from the actors.

The successful projects and teams will then be provided with a professional production crew to shoot their film. A post-production supervisor will be appointed to assist them in the editing and final delivery of the film.

Finally, a special premiere of three of the best completed films as chosen by their peers will be held at a suitable venue to be confirmed with the cast, crew and creative personnel as well as NFVF council and staff.

ELIGIBILITY

In order for a filmmaker to be considered for this opportunity, the applicant must meet the following requirements:

a. Have worked in the industry for at least two years.
b. Have worked in one or more of the following: writing, directing, editing, cinematography or producing.
c. Be a Historically Disadvantaged Individual as defined in the constitution of South Africa.
d. Be able to set aside the requisite time over a period of 9 months to complete the programme.

SELECTION CRITERIA

Eligible candidates for the project must:

Have a strong written concept for a one hour stand alone film with a clearly thought out premise or controlling idea that would allow it to be packaged with at least 4 other projects.
Demonstrate familiarity with the tools of scriptwriting including software, formatting, scheduling and editing.
Demonstrate a willingness and ability to work with others in pursuit of the same objective.
Understand the value of and is able to work under pressure and tight schedules.
Have a showreel that demonstrates their creative abilities.
Have written, directed, photographed or edited two or more short films, documentaries or commercials.

APPLICATIONS

All applications should be able to provide the following documentation in hard copy triplicate for consideration:
1. Narrative treatment for one hour film including character bible, detailed synopsis, major turning point document.
2. CV and copy of ID document.
3. Showreel

CLOSING DATE: 28 September 2012

All applications must be submitted as hard copies to: Thandeka Zwana by the closing date.
All enquiries may be directed to Thandeka Zwana.

08 September 2012

Marie-Louise Sarr, a cineaste at the heart of the Master 2 Réalisation Documentaire de Création


Filmmaker Marie-Louise Sarr, who manages the Master 2 Réalisation Documentaire de Création (RDC) at Gaston Berger University (UGB) in Saint Louis, Senegal, talks about how she came to cinema, and the specificities of the programme.

Marie-Louise, a short background on your evolution into cinema…

It was precisely in October 2007 that my path crossed that of cinema. I had just finished writing my master’s thesis in geography and I heard that a new programme for documentary filmmaking at Gaston Berger University was about to begin.

I had always wanted to use the image as a means of consciousness-raising and did not want to miss the occasion to do so. Hence, I submitted my application and was accepted, and began my cinema studies with colleagues coming from other African countries. It was difficult at first because I was the only one in my class who had not made a film, written a script nor studied filmmaking. Initially I struggled to keep up with the others, but bit-by-bit I got into the rhythm of it and at the end I received my diploma and made my graduation film, “Chaîne alimentaire’ (Food Chain), which has been very successful at festivals.

Since then my passion for cinema has continued to grow. In October 2010, I was recruited by UGB and Africadoc to manage, develop and supervise the Master 2 Réalisation Documentaire de Création. Since then, I meet with the students and instructors on a daily basis, which allows me to immerse myself more in documentary filmmaking and to also take other courses. It was in this context that I got the idea in 2011 to establish an audiovisual structure in Saint Louis specialising in commissioned films and coverage of major events in the city under the banner “remembering the old city.”

I am actually preparing the shooting of my first feature film, “Returning to Joal” which is scheduled to begin the 10th of September 2012.

The Master 2 RDC at Gaston Berger University exists since 2007, what are the objectives of the programme and what have been the results in the past five years?

The Master 2 Réalisation Documentaire de Création (Master in documentary filmmaking) was established at Gaston Berger University in Senegal in October 2007 thanks to the collaboration between the University, and in France, the University of Stendhal in Grenoble and the Association Ardèches Images (Africadoc). Each year eight students from francophone African countries are received, and for the first time, for the 2012-2013 academic year a French candidate was admitted.

The Master 2 has the following objectives:

• To give the students access to the requisite artistic skills of documentary culture that also meet the demands of the industry.

  • To provide West Africa with high-level training in an area where the continent must be present or otherwise risk cultural dilution.
  • To strengthen the foundation of professionals in cinema and the audiovisual documentary in Africa.
  • To ensure generational renewal and bring the profession as a whole to a highly qualified level.


  • Since the past five years of its existence, some thirty films have been made about Saint Louis and its surroundings, which constitute an important visual heritage. Also with periodic organised screenings in the neighbourhoods and weekly film club meetings at the university, a cinema culture is in the process of developing in the old city, as well as a framework for exchange between cineastes, film enthusiasts, students and the cultured public. Added to this is the promotion of African culture by the presence of diverse nationalities, each of which leaves its mark on the different films that are made each year.

    Talk a bit about your experience managing the Master 2 RDC?

    It is somewhat difficult to talk about my experience, as I do not yet have a lot. But yes, I have already supervised two classes, though I need more time to acquire experience.

    I can say that I learn a lot being in contact with students and instructors of different nationalities. Indeed it is not easy to supervise adults coming from different backgrounds and having a different culture and education. But by dint of trying to communicate and understand others, we are able to establish the necessary dialogue for training and teamwork.

    In terms of the administrative aspect for which I only had a basic notion at the start, I can say in all modesty that I have managed pretty well, especially in terms of planning and programming the instruction.

    There are several activities connected to the Master 2 RDC—a festival, a day-long programme for study and reflection—what are the outcomes as it relates to the Senegalese public in particular and the cinema culture there in general.

    The “Saint Louis en Images” festival, which is in its first phase, is an initiative implemented during the fifth year. The first edition was a barometer to measure the turnout among St. Louisians and their interest in cinema. This year we focused more on schools, but for the next editions we expect to broaden our scope in order to touch the maximum amount of people.

    As it relates to the daylong programme for study and reflection organised every year by GRECIREA (Groupe d'Etude Cinéma du Réel Africain), it produces a multidisciplinary study on the emergence of a new documentary cinema in Africa since the 2000s. The organisers could give you more details on its outcome as it relates to the Senegalese public.

    I see a strong presence of women in the Master 2 RDC, do you think that this tendency is due to recruitment or is it the result of a raised consciousness among women regarding this field?

    The strong presence of women initially comes through recruitment. Since the first class, the Master 2 RDC has encouraged women to apply. Hence, the first year comprised of 4 women and 4 men, the second year, 5 men and 3 women, the third, 4 men and 4 women and so on…But I think that it is a more general trend that is not limited to cinema. We live in an era where “equality” is the law and it has raised awareness among women who are positioned to take part in all spheres of activity. There are no longer activities that are reserved strictly for men and vice versa. In my opinion, the 7th art has not been excluded from this wave, hence, the influx of women candidates.

    Interview with Marie-Louise Sarr and translation from French to English by Beti Ellerson, September 2012.

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