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.

24 May 2018

FESPACO 2019 : Appel à films est ouvert | Call for entries is open

FESPACO 2019
Appel à films est ouvert
Call for entries is open


Le FESPACO a l'honneur de porter à la connaissance des professionnels du cinéma et de l'audiovisuel que les inscriptions pour la sélection des films de la 26e édition, prévue pour se tenir du 23 février au 02 mars 2019, sont ouvertes.


FESPACO is honoured to announce to cinema and audio-visual professionals that the call of entries is open for the selection of films for the 26th edition, to take place from 23 February to 2 March 2019. 


Date limite | Deadline : 31 Octobre / October 2018

23 May 2018

Black Camera: On-screen Narratives, Off-screen Lives: African Women Inscribing the Self by Beti Ellerson (Spring 2018)

On-screen Narratives, Off-screen Lives: African Women Inscribing the Self
Beti Ellerson

Black Camera
Vol. 9, No. 2 (Spring 2018), pp. 460-476

The journeys of on-screen characters, while most do not reflect the off-screen trajectories of the real-life women, some do provide glimpses that parallel the paths that these women have voyaged in their own lives, perhaps influenced by their characters, or more brutally, because of them. Their travels, imaginary and real, had some relationship to their roles as actor and/or the choices they later made as a result of their encounter with/within the world of cinema. It is their on-screen legacy, especially in the case of iconic films, that has been the most enduring; as these women, far removed from their fame in these early films, live quiet off-screen lives a long way from the experiences of their cinematic characters.

Moreover, the filmmakers, who navigate frontiers, negotiate relocations and displacements to extra-African environments, inscribe an autobiographical journeying, problematizing these itinerant identities in their films. Likewise, traveling, sojourning and relocating across the globe involve shifting or ultimately expanding the identity of their cinema. Hence, an exploration of on-screen representations offer a larger picture of their experiences in front of and behind the camera.

Subheadings:
Reel imaginaries, real herstories
Behind the camera, in the frame: autobiographical imaginaries 

22 May 2018

Women at the 25th African Film Festival New York 2018

Women at the 25th
African Film Festival
New York
2018

Women’s presence at the African Film Festival New York is visible in all categories with many of the film practitioners in attendance for discussion at the screenings. At the helm of the Festival is Sierra Leonean Mahen Bonetti, founder and director. Some of the highlights at the 2018 edition are Apolline Traoré's opening film Borders; the 2017 version of Selbe: One Among Many, by Safi Faye, reissued in Wolof, originally released in 1983; French-Burkinabé curator Claire Diao’s traveling series “Quartiers Lointains”; Ekwa Msangi’s Master Class, during which she explores building a sustainable career as a filmmaker. This year’s festival, which celebrates its 25th year, runs from 16-22 May to 10 June with screenings and other relevant cultural events in various venues.

Nicole Amarteifio. Before the Vows (Ghana) 2017, 88 min

Josza Anjembe. Le Bleu blanc rouge de mes cheveux (France) 2016, 21 min

Machérie Ekwa Bahango. Maki’la (Democratic Republic of the Congo/France) 2018, 78 min

Jenna Bass. High Fantasy (South Africa) 2017, 96 min

Samantha Biffot. The African Who Wanted to Fly (Belgium/France/Gabon/China) 2016, 70 min

Djali Brown-Cepeda. A Pesar de su Ausencia. (U.S.) 2017, 8 min

Theresa Traore Dahlberg. Ouaga Girls (Sweden/Burkina Faso/France/Qatar) 2017, 83 min

Iman Djionne. Boxing Girl (Senegal) 2016, 26 min

Safi Faye. Selbe: One Among Many - 2017 Version (Senegal) 1983/2017, 30 min

Marthe Djilo Kamga. Vibrancy of Silence: A Discussion with My Sisters (Belgium/U.S.) 2017, 90 min

Tapiwa Kapuya, Tawanda Gunda. In My Father’s Village (Zimbabwe) 2016, 22 min

Rahmatou Keïta. The Wedding Ring (Niger) 2016, 96 min

Sewra Kidane Proclamation Punctuation (U.S.) 2016/2017, 5 min

Aïcha Elhadj Macky. The Fruitless Tree (Niger/France) 2016, 52 min

Rosine Mbakam. The Two Faces of a Bamiléké Woman (Belgium/Cameroon) 2016, 76 min

Akosua Adoma Owusu. On Monday of Last Week (U.S.) 2018, 14 min

Magaajyia Silberfeld. Vagabonds (U.S./France/Niger) 2017, 16 min 

Apolline Traoré. Borders (Burkina Faso) 2017, 90 min

Sheila S. Walker. Familiar Faces/Unexpected Places: A Global African Diaspora (U.S./Various Countries) 2018, 31 min

Stephina Zwane. Baby Mamas (South Africa) 2018, 93 min



21 May 2018

Safi Faye : Selbe, one among many | Selbe et tant d'autres – restored/restauré en/in Wolof – African Film Festival New York 2018

Safi Faye : Selbe, one among many | et tant d'autres – restored/restauré en/in Wolof – African Film Festival New York 2018


[English]
In focusing on the daily life of a Senegalese village woman, Selbe: One Among Many examines the economic and social roles rural African women are expected to play. Selbe has the heavy responsibility of providing for a large family as her husband searches unsuccessfully for work in a neighboring town. On his return, he joins the other unemployed men of the village, who will not help the women, but are as dependent on them as the children for food and shelter.

This reissue marks the first time the film has been issued in its original Wolof language. U.S. Premiere of reissue in Wolof. In the presence of Safi Faye.

Français]
Le mari de Selbé est parti en ville gagner sa vie. C'est donc à elle d'assumer une grande famille, le travail aux champs, en pleine saison sèche. Ses consœurs n'ont rien à lui envier, leurs charges sont aussi écrasantes: elles doivent subvenir aux besoins de tous les membres de la famille, assurer les corvées domestiques et le travail agricole. Elles parlent de leurs droits, leurs devoirs, leurs rapports avec l'homme qu'elles aiment ou critiquent. Un film rude, à l'image de la vie de ces femmes.

En enchaînant sans répit des plans rapprochés sur les bras, les épaules, les corps musclés en mouvement de ces femmes solides, en activité permanente, environnées d'enfants, Safi Faye a réussi à évoquer formellement dans ce bref documentaire, la dureté de ces destinées sans cesse confrontées aux exigences de la survie.

Ce documentaire offre un regard unique sur la vie quotidienne en Afrique de l'Ouest. Tourné au Sénégal, Selbe met l'accent sur la responsabilité économique et le rôle social des femmes dans la société africaine.

Sorti en 1983, Selbe et tant d'autres a été restauré dans sa version d’origine en wolof en 2017. Presenter en première aux Etats-Unis en sa version restaurée, en presence de Safi Faye.

19 May 2018

REMINDER: Call for Submissions - Reel Sisters of the Diaspora Film Festival and Lecture Series 2018

Call for Submissions:
Reel Sisters of the Diaspora Film Festival and Lecture Series 2018

Deadline: 31 May 2018 
Late Deadline: 12 June 2018 
Extended Deadline: 22 June 2018

Reel Sisters 21 Anniversary event will take place from 20-21 October 2018

The Reel Sisters of the Diaspora Film Festival & Lecture Series is a two-day annual film festival founded by African Voices magazine and Long Island University's Media Arts Dept., Brooklyn Campus. Established in 1997, Reel Sisters (www.reelsisters.org) is dedicated to providing opportunities for women of color filmmakers to advance their careers in the film industry. Reel Sisters is the first Brooklyn-based film festival to showcase films directed, produced and written by women of color. Gender non-conforming filmmakers are welcomed to submit women centered films to the festival. 

18 May 2018

Cannes 2018 : Sofia by/de Meryem Benm'Barek. Analysis /analyse : Falila Gbadamassi (Africiné)

Cannes 2018: Sofia by/de Meryem Benm'Barek. Analysis / analyse: Falila Gbadamassi (Africiné)

Translated from French by Beti Ellerson and published on the African Women in Cinema Blog in collaboration with Africine.org. Falila Gbadamassi is a writer at Africiné Magazine. (Images: Cannes).

En français (ci-après) : http://www.africine.org/?menu=art&no=14452

Sofia, the first feature film by Franco-Moroccan Meryem Benm'Barek screened on 16 May 2018 at Un Certain Regard, is a social drama set in a society holding on to backward beliefs. The young filmmaker delivers a polished work presenting a superb portrait of a woman, brilliantly performed by Maha Alemi.

Sofia (Maha Alemi) is a clever 20-year-old who discovers that she is pregnant and is about to give birth. In Morocco, to have a child outside of marriage is a crime. Hence, assisted by her cousin Lena (Sarah Pearls), the young woman has a few hours to find the father of her child, a certain Omar (Hamza Khafif).

Sofia is clearly not very expressive. In addition, she is almost scolded for not being more expansive when she drags her entire family into this "experiment", considered particularly humiliating in Moroccan society.

Especially when her cousin Lena, who comes to her rescue from the very start of the drama, asks her to light her lantern. Though Sofia has problems, it does not automatically elicit empathy. And one of Meryem Benm'Barek's remarkable magic tricks is to make her, scene by scene, a woman who ends up commanding respect and admiration.

Sofia’s main charcter is a heroine in a world of women, as her mother, aunt and cousin are the main protagonists. On the other hand, the men (Sofia's father and the father of her child), contrary to appearances, are accessories, even if they can also cause irreparable harm.

Sofia's stoicism is the most visible facet of her heroism. Her denial that she is pregnant, the rejection and anger of her parents, her new motherhood, all are hardships that she seems to traverse with indifference. Her face, filmed in close-up, is almost always impassive. But when she does smiles, it is to show, and perhaps especially to affirm, that despite the circumstances, she remains in control of her destiny. Particularly in a society that oppresses women and leaves them, as a result, little or no room for maneuver. A lesson in feminism, without fanfare.

Meryem Benm'Barek created a scenario of exceptional finesse and intelligence. And she was able as well, to transform it into images with the same qualities. Maha Alemi, who carries the film, is also a wonderful discovery. This perfectly-mastered first work, is again, proof of the vitality of Moroccan cinema.

Un roseau nommé Sofia. Un film de Meryem Benm'Barek. Analysis\analyse: Falila Gbadamassi (Africiné). Falila Gbadamassi est rédactrice à Africiné Magazine

Sofia, le premier long métrage de la Franco-Marocaine Meryem Benm'Barek projeté le 16 mai 2018 à Un Certain Regard, est un drame social dont le décor est une société aux principes encore rétrogrades. La jeune cinéaste livre une œuvre épurée au service d'un somptueux portrait de femme, interprété avec brio par Maha Alemi.

Sofia (Maha Alemi) est une sage jeune fille de 20 ans qui découvre, par hasard, qu'elle est enceinte et surtout qu'elle est sur le point d'accoucher. Au Maroc, mettre au monde un enfant en dehors des liens du mariage est un crime. Aidée par sa cousine Lena (Sarah Perles), la jeune femme a quelques heures pour retrouver le père de son enfant, un certain Omar (Hamza Khafif). Lire l'intégralité de l'article @ http://africine.org/?menu=art&no=14452


17 May 2018

Safi Faye : “Fad,jal” (Cannes Classics 2018)

Safi Faye : “Fad,jal” (Cannes Classics 2018)

Safi Faye returns to Cannes with Fad,Jal, restored by the CNC, presented at Cannes Classics. The film was first screened at Cannes in 1979 at Un Certain Regard. Also selected at Cannes at Un Certain Regard 1996, was her film Mossane.

Fad,jal (Grand-père, raconte-nous) de Safi Faye. Une présentation du CNC et de Safi Faye. Restauration numérique effectué a à partir de la numérisation en 2K des négatives 16mm. Restauration réalisée par le laboratoire de CNC. En présence de Safi Faye. 

Synopsis : Fad,jal (1979, 1h52, Sénégal, France)

Fad,Jal is a Serere Senegalese village. At school, children learn, in French, the grammar and history of France. Villagers practice their religion in a church, a vestige of colonialism.

At the foot of a tree, the ancestor and a griot recount to the children in Wolof, the history of the village—its customs, its tradition, its creation. An opportunity to discover the artisanal trades, agricultural techniques and the difficulty of exploiting the land because of the drought. Meanwhile, as a result of the recently-implemented government policy,  the Serere are confronted on a daily basis with the appropriation of their land, previously transmitted by oral agreement among the villagers.

Fad,Jal est un village sénégalais sérère. A l'école, les enfants apprennent, en français, la grammaire et l'histoire de France. Les villageois pratiquent leur religion dans une église, vestige du colonialisme.

Au pied d'un fromager, l'ancêtre et un griot racontent en wolof l'histoire du village aux enfants, sa création, ses coutumes, ses traditions. C'est l'occasion de découvrir les métiers artisanaux, les techniques agricoles et la difficulté d'exploiter les terres à cause de la sècheresse. En parallèle, le quotidien des sérères est confronté à la politique gouvernementale qui s'approprie désormais les terres, auparavant transmises oralement entre les villageois.

(Source: Cannes communiqués)

Safi Faye (Cannes 2018):



Fad,Jal (Cannes 2018)




LINK | LIEN


16 May 2018

Rafiki: to our forbidden love! | à nos amours interdites ! Cannes 2018 (analysis/analyse, Falila Gbadamassi - Africiné)

Rafiki: to our forbidden love! Cannes Film Festial (8-19 May 2018). Falila Gbadamassi (Africiné Magazine: analysis of the film by Wanuri Kahiu

Translated from French by Beti Ellerson and published on the African Women in Cinema Blog in collaboration with Africine.org.


A film about love, between two high school girls, which caused its director [Wanuri Kahiu] to be threatened with imprisonment in Kenya. Rafiki, a remarkable drama, is one of three African films in competition at the Un Certain Regard.

“We are here to celebrate love because we have come a long way to tell this story, it cannot be shown in Kenya (it has been banned since 27 April 2018, because the film is accused of ‘promoting’ lesbianism) but we can show it to you,” Kenyan filmmaker Wanuri Kahiu said during the screening of her film on 9 May 2018 on the Croisette. Rafiki ("Friend" in Swahili), an adaptation from the book by Ugandan Monica Arac de Nyeko, opened the competition at Un Certain Regard.

In Nairobi, the Kenyan capital, Kena (Samantha Mugatsia) and Ziki (Sheila Munyiva) are neighbours from the same area, though they belong to a different social background. But more importantly, their fathers are political rivals involved in an election campaign where the slightest blunder could be disastrous. With her girlfriends and her kitsch look, Ziki only thinks about having fun. Kena is more serious and wants to become a nurse. A tomboy, she often hangs with her friend Blacksta (Neville Misati) who plans to make her a respectable woman in the near future.

Meanwhile, Kena and Ziki "imagine themselves", one would say to paraphrase Vanessa Paradis (singer and actress, on the poster of Un Couteau dans le cœur, the film by Yann Gonzalez in the running for the 2018 Palme d'Or) when she interprets the song Tandem. The two high school girls come closer together and finally declare their burning desire for each other, in this Kenyan society where homosexuality is the latest crime in fashion.

The pragmatic Kena, while taking many risks to make the relationship happen, is careful not to reveal it. The frivolous Ziki, who does not want to be an ordinary Kenyan, chooses rebellion. Can one or the other of these strategies allow them to live their love openly when the pastor of their community emphasises, when he can, the abomination of a homosexual relationship?

The Kenyan state shares his view: homosexuality is illegal and is punishable by 14 years in prison. Reality has caught up with fiction. The shame is now cast on Wanuri Kahiu, who, congratulated a few hours after the announcement of her selection at Cannes, is now under threat of imprisonment because her film portrays homosexual love. At the moment, Kenyans are a long way from seeing the first Kenyan film selected at Cannes. Yet, they can be proud of this lively and colourful work, like the credits of the film. It echoes a Kenyan youth who enjoys its right to insouciance even in the most dramatic situations. Supported by two performers who convey their characters valiantly and with great sincerity, Rafiki is a beautifully made film. Wanuri Kahiu's sensitive and skilful storytelling takes the viewer by the hand, to see the blossoming of a love born in the expressions and smiles filmed with close-up shots. Through the lens of the filmmaker, the detail of the faces of the lovers becomes a true reflection of their soul.

Wanuri Kahiu produced a real gem that was born, in part, on the Croisette. Her selection is akin to a homecoming. Thanks to la Fabrique Cinéma of the French Institute, a program that supports young talents of the world, she completed the scriptwriting for Rafiki. "It's an honour and a privilege to be here (in Cannes)," said the Kenyan filmmaker at the presentation of her film. Proud to be at the Cannes Film Festival but also proud of her native Kenya. "Even if we are heartbroken by what is happening in our country," said Wanuri Kahiu, "we are proud to be Kenyans." And the future audience of Rafiki will be able to boast of having chosen a good film.

[Français]
Falila Gbadamassi est rédactrice à Africiné Magazine
Rafiki: à nos amours interdites !  Festival de Cannes (8-19 mai 2018)

Un film d'amour… entre deux lycéennes qui vaut à sa réalisatrice d'être menacée d'emprisonnement au Kenya. Rafiki, drame solaire, est l'un des trois films africains en compétition à Un Certain Regard.

"Nous sommes ici pour célébrer l'amour parce que nous sommes venues de loin pour raconter cette histoire. Il ne peut pas être projeté au Kenya (il est interdit depuis le 27 avril 2018, parce que le film est accusé de "promouvoir" le lesbianisme) mais nous pouvons vous le montrer", a déclaré la cinéaste kényane Wanuri Kahiu lors de la projection de son film le 9 mai 2018 sur la Croisette. Rafiki ("Ami" en swahili), adaptation du livre de l'Ougandaise Monica Arac de Nyeko, a lancé la compétition à Un Certain Regard. Lire l'intégralité de l'article @ http://www.africine.org/?menu=art&no=14442

14 May 2018

Call for submissions: Udada (SISTERHOOD) International Women’s Film Festival - Kenya

Call for submissions:
Udada (SISTERHOOD) International Women’s Film Festival
16-20 October 2018

Submission deadline: 30 July 2018

The festival is the first of its kind in the region to feature the works of women in different genres; drama, comedy, fiction, documentary, animation and experimental film productions. It aims to empower women film makers from all walks of life. We believe that through this initiative, we will provide a platform for established and emerging female talents in the film industry. This platform avails opportunities for women film makers to exhibit their work, discuss and share their experiences and challenges. Network with professional film makers, meet their supporters and interact with other major players in the industry. In so doing, we aim to encourage social change and elevate women’s status at home and in the workplace. The festival has been running for four years now featuring, 

- Film screenings. 
- Filmmakers’ forum. 
- Capacity building workshops. 
- Co-productions with other festivals in Africa and the world over.

The 5th edition of UIWFF is slated for the 16th to 20th of October, 2018. This year’s theme is “If We ran The World…” We aim to have women from around the world, particularly Kenyan and African women to participate in this year’s theme by submitting a short video answering the question “IF WE RAN THE WORLD…” A hashtag will also be created to engage women and men around the world via social media.

Workshops that will be carried out during the festival:

- Sound capture, design and mixing and film scoring. 
- Creative writing 
- Acting 
- Dada Pitch, distribution and marketing



Wild Track Newsletter 27 – March-April 2018 about African women in cinema in Zimbabwe


Wild Track Newsletter 27
March-April 2018

about African women in cinema in Zimbabwe

The Wild Track Newsletter is published by the Institute of Creative Arts for Progress in Africa (ICAPA TRUST) 

The Wild Track Newsletter covers information, issues and events relevant and related to African women in cinema in general and specifically those from Zimbabwe, including coverage of the International Images Film Festival for Women (IIFF), the annual film festival which takes place in Zimbabwe. In addition, it covers gender related arts-based activities in the Zimbabwe area.

Back issues are also available on the ICAPA Trust site: Issue 26, Issue 25, Issue 24, Issue 23, Issue 22, Issue, 21, Issue 20, Issue 19, Issue 18, Issue 17, Issue 15, Issue 14, Issue 13, Issue 12, Issue 11, Issue 10, Issue 9, Issue 8, Issue 7.



Filmmakers have come together to form the Zimbabwe Film Industry Development Platform

ICAPA delegation at the Brussels Conference on the results of EU supported ACP projects

ICAPA director Tsitsi Dangarembga had a chance to network with other African Women Filmmakers at the Berlinale

Statement about sexual harrassment in local film industry read more 

More Festival Honours!
ICAPA's "In My Father's Village" has been selected as the opening film for The Maysles Cinema venue in Harlem at the New York African Film Festival 2018

11 May 2018

Matamba Kombila: “Sens Dessus Dessous” crowdfunding campaign | campagne Indiegogo

Matamba Kombila:
“Sens Dessus Dessous” crowdfunding campaign | campagne Indiegogo

JOIN THE INDIEGOGO CAMPAIGN | REJOINDRE LA CAMPAGNE INDIEGOGO

A mini-series of nine short films of nine minutes each, "Sens Dessus Dessous" (tr: turn upside down) has as its main theme the experiences of four deaf and mute children, frustrated by their difficulties in communicating with their families. They decide to invent a machine in order to break the barriers of language and the prejudices they face daily.

Mini-série de neuf courts-métrages de neuf minutes chacun, «Sens Dessus Dessous» a pour trame de fond quatre enfants sourds et muets, frustrés par leurs difficultés de communiquer avec leurs familles. Ils décident d’inventer une machine qui permettra de briser les barrières de la langue et les préjugés auxquels ils sont confrontés quotidiennement.



SYNOPSIS

THE STORY Sens Dessus Dessous is a mini series of 9 shorts of 9 minutes each where we follow the troubled lives of four deaf friends Anoushka, Chris Levy, Livia and Pierre.

L'HISTOIRE Sens Dessus Dessous est une mini série de 9 courts métrages de 9 minutes chacun où nous suivons la vie troublée de quatre amis sourds Anoushka, Chris Levy, Livia et Pierre.


BIO

Matamba Kombila is a filmmaker who lives between New York City and Libreville…She made two experimental shorts in 2014, A Walk in Beauty and A Walk in Purpose. A Walk in Purpose screened at various festivals and shows in Europe and the USA. Her third film Telesourd, shot in 2015, screened at Real Sisters Film Fest 2015, AFRIFF2015 and LAFF2016 among others, and received two awards. Her fourth installment DD Teddy Bear, was released early 2016. In 2016, she produced award winning director Ekwa Msangi’s film, Farewell Meu Amor; and Gabon filmmaker Fernand Lepoko’s feature, Matris.

Matamba Kombila, une réalisatrice gabonaise qui se donne pour objectif de réduire la frontière de communication, entre les sourds et personne dites normales…Styliste et designer à l’origine, sa créativité mêlée à son âme humaniste lui ont donné la capacité d’écrire sur des aspects à forte tonalité sociale, singulièrement celles qui sont perceptibles dans son pays le Gabon.


SOURCE


19 April 2018

Marie-Clémence Andriamonta-Paes : “Fahavalo, Madagascar 1947” crowdfunding campaign | campagne KissKissBankBank

Marie-Clémence Andriamonta-Paes :
“Fahavalo, Madagascar 1947”





PRESS RELEASE | COMMUNIQUÉ DE PRESSE

Our new film "Fahavalo, Madagascar 1947" by Marie-Clémence Andriamonta Paes is almost completed. The journey continues with the last push. The final step in making the film happen is getting the funds to get the rights for the archives which will allow the film to screen for the next 10 years. We need your help to make that happen. Your contributions will allow us to get the archives rights that will let us screen the film for the next 10 years. We cannot complete this without your help. We put together a KKBB campaign to help raise the funds. The campaign will give you an intimate look inside the film's journey and it will give you an opportunity to get to know the team and why Madagascar 1947. Thank you for your commitment. 

JOIN THE KISSKISSBANKBANK CAMPAIGN

Fahavalo, Madagascar 1947" est un long métrage documentaire écrit et réalisé par Marie-Clémence Andriamonta-Paes. Le film est presque terminé. Nous sommes en post-production, et nous avons besoin de votre soutien. Une campagne de financement participatif est en cours pour payer les droits des archives pour pouvoir diffuser le film dans les salles en France et à Madagascar, et dans les festivals pour les 10 prochaines années.

REJOINDRE LA CAMPAGNE KISSKISSBANKBANK


SYNOPSIS

They were called fahavalo, “enemies”, as they rebelled against French colonial authorities in 1947, only armed with spears and talismans. The film is a journey across Madagascar in search of the last witnesses of a long forgotten rebellion.

A Madagascar en 1947, les rebelles insurgés contre le système colonial sont appelés fahavalo, «ennemis» de la France. Les derniers témoins évoquent leurs longs mois de résistance dans la forêt, armés seulement de sagaies et de talismans.


BIO

Of Malagasy and French nationality, Marie-Clémence Andriamonta Paes spent her childhood in Madagascar. She is a filmmaker and producer of documentaries that have received awards in international festivals (Cinéma du Réel, Liepzig, Friborg, Festival Jean Rouch ...). With her husband Cesar Paes, they have produced An Opera from the Indian Ocean, Saudade do Futuro, Awara Soup, Songs and Tears of Nature, Angano ... angano, Tales from Madagascar. Fahavalo, Madagascar 1947 is her first film as a director, she was motivated by the desire to know about the history of the insurrection of 1947 in Madagascar. 

De nationalité malgache et française, Marie-Clémence Andriamonta Paes a passé son enfance à Madagascar. Elle est auteur et productrice de documentaires primés dans les festivals internationaux (Cinéma du Réel, Liepzig, Fribourg, Festival Jean Rouch...). Avec son mari Cesar Paes, ils ont signé notamment "l'Opéra du bout du monde", "Saudade do Futuro", "Le Bouillon d’Awara", "Aux guerriers du silence", "Angano… angano… Nouvelles de Madagascar""Fahavalo, Madagascar 1947" est son premier film en tant que réalisatrice, il a été motivé par la volonté de comprendre l'histoire de l'insurrection de 1947 à Madagascar.

16 April 2018

OUAGA FILM LAB #3 : Appel à Projets | Call for Projects - 2018

OUAGA FILM LAB #3 - 2018
Appel à Projets/ Call for Projects



Period of realisation from 20-29 September 2018

Période de réalisation du 20-29 Septembre 2018


Deadline for sending the files: 1 July 2018

Date limite d’envoi des dossiers : 1er Juillet 2018


The call for projects is open to African practitioners (who is a filmmaker from a West African country.

Le présent appel à projets s’adresse à des porteurs de projets africains (dont le réalisateur est ressortissant d’un pays de l’Afrique de l’Ouest) dans le domaine du cinéma.  



Ouaga Film Lab is a platform for gatherings between young talents from the continent and international consultants. The programme establishes a direct two-way dialogue: between the African talents themselves; and with professionals from the rest of the world, promoting networking and exchange around the difficulties inherent in film production both locally and internationally.

Ouaga Film Lab est une plateforme de rencontres entre des jeunes talents du continent et des consultants internationaux. Elle instaure un dialogue direct à double-sens : entre les talents africains eux-mêmes ; et avec des professionnels du reste du monde, favorisant la mise en réseau et les échanges autour des difficultés inhérentes à la production cinématographique tant au niveau local qu’international.



Registration is free and can be done online at www.ouagafilmlab.net
It must meet the criteria set out in the regulations and must be made before 1 July 2018 at 00:00 GMT.

L’inscription est gratuite et se fait en ligne sur le site www.ouagafilmlab.net
Elle doit respecter les critères énoncés dans le règlement et doit être faite avant le 1er Juillet 2018 à 00 heures TU.

12 April 2018

Sofia by/de Meryem Benm'Barek : Cannes 2018 - Un Certain Regard (Morocco)

Sofia by/de Meryem Benm'Barek
Cannes 2018 - Un Certain Regard
(Morocco)


Selection officielle | Official selection
Un certain regard



Image: dohafilminstitute.com

Director | Réalisatrice : Meryem Benm'Barek
Producer | Producteur : Olivier Delbosc
Production: Curiosa Films with/avec le soutien/support from/de Doha Film Institute (DFI) Qatar

Maroc | France | Qatar

Synopsis

[English]
Sofia lives with her parents in a modest apartment in Casablanca. While having lunch with her family one day, she is suddenly stricken with violent abdominal pain. Her cousin Kenza, a medical student, is feeling her belly when water starts running down her thighs: Sofia is about to give birth. On the pretext of Sofia having overeaten, the two women head to the hospital. Reluctant at first, the personnel eventually agree to take Sofia in, on the condition that she provide her marriage certificate before the next morning; otherwise they will alert the authorities. After Sofia gives birth, she and Kenza immediately leave the hospital in search of the child's father, launching themselves into a frantic nocturnal quest.

[Français]
Sofia vit avec ses parents dans un modeste appartement de Casablanca. Alors qu'elle mange avec sa famille, elle est prise d'une violente douleur abdominale. Son cousine Kenza, étudiante en médecine est liquéfiée : Sofia est sur le point d'accoucher. Prétextant que Sofia a trop mangé, les deux femmes foncent à l'hôpital. D'abord dubitatif, le personnel accepte de faire d'hospitaliser Sofia sous réserve qu'elle fournisse son certificat de mariage avant le lendemain matin ; à défaut ils devront alerter les autorités. Après l'accouchement de Sofia, elle et Kenza quittent immédiatement l'hôpital à la recherche du père de l'enfant, se lançant dans une quête nocturne désespérée.

Rafiki by/de Wanuri Kahiu : Cannes 2018 - Un Certain Regard (Kenya)

Rafiki by/de Wanuri Kahiu :
Cannes 2018 - Un Certain Regard (Kenya)

http://www.festival-cannes.com/fr/infos-communiques/communique/articles/la-selection-officielle-2018

Rafiki by/de Wanuri Kahiu
Selection officielle | Official selection
Un certain regard

Source: Rafiki Press Kit: 
www.wanurikahiu.com/s/Rafiki-Press-Kit-2017.pdf

Lire aussi en Français dans Le Monde :

" Le premier film kényan jamais sélectionné à Cannes est une histoire d'amour lesbien "


Pour la réalisatrice du premier long-métrage kényan présenté à Cannes, l’interdiction du film au Kenya assombrit ce grand moment.

Director: Wanuri Kahiu
Producer: Steven Markovitz, Big World Cinema
A Big World Cinema Production in co-production with Awali Entertainment (Kenya), MPM Film (France), Shortcut Films (Lebanon), Ape & Bjorn (Norway), Rinkel Film (Netherlands), Razor Film (Germany)

Rafiki is a love story about Kena and Ziki who live in a housing estate in Nairobi. The girls are unlikely friends and their fathers are rivaling politicians. When they fall in love and the community find out, the girls are forced to choose between love and safety.

Synopsis

Kena and Ziki live very different lives in the Highrise Estate in Nairobi. Kena works in her father’s shop and awaits the start of nursing school, while Ziki passes the days hanging out with her friends and making up dance routines. Their paths cross when their fathers run against each other for seats in the County Assembly, and they find themselves drawn to each other.

Soon their interest grows to affection and the girls find ways to love each other despite the ever-watching gaze of the neighborhood gossip and the homophobic sentiments of their community. However, once discovered by their family and attacked by the community, Kena and Ziki must choose between what they feel and what others want them to do.



10 April 2018

“Maki'la” by/de Machérie Ekwa Bahango, a/un film noir by/par Hassouna Mansouri (analysis/analyse)

“Maki'la” by/de Machérie Ekwa Bahango, a/un film noir by/par Hassouna Mansouri 

A collaboration with Africine.org, translated from French by Beti Ellerson. 


Maki'la by Machérie Ekwa Bahango is a genre film with aspects drawn from the streets of Kinshasa, the capital of the Democratic Republic of Congo. These streets and the children who live in them, cut off from all family and social ties, are often the subject of a great deal of imagined reality; treated as sensationalised subjects, full of miserabilism and pity. The young Congolese filmmaker, who has just completed her very first feature film, constructs this subject matter into cinematographic material.

In the gangster movie genre where the hero is most often a man, Machérie Ekwa Bahango breaks with this rule from the very beginning. The hero is Maki, a young woman who fights as best she can to survive in the streets of Kinshasa. Married to Mbingazor, the leader of a gang of youth, she decides to set off on her own, finding neither satisfaction in the lifestyle of this group or in her relationship. Sent on her path by fate is Acha, another teenage girl lost in a soulless, unsparing Kinshasa. Their encounter is an important factor in the transformation of Maki's character, strengthened by a sense of responsibility. The group evolves outside of any interaction with society; guided by its own laws, like gangsters and mafia members in noir films. For instance, the wedding, used only as a model, is celebrated between friends by imitating/caricaturing the references of religious ritual. Similarly, each gang member is baptised according to a social stereotype.

At a certain moment, something clicks in Maki's mind, prompting her to no longer tolerate her companions' mode of existence: constant idleness, spending all their time smoking and drinking. There are subtle hints on the part of the director regarding the impasse and immobility that suffocate Congolese society. Maki’s awakening/revolt emerges as a call for crucial change. Confronted with a system stronger than her, what can the young woman do? The revolving scenes of conflict, at times in direct combat with Mbingazor, who dictates the law, are like metaphors for social confrontations between a people eager for change and an illegitimate oppressive power.

When finally a glimmer of hope emerges, the monstrous actions of Mbingazor are fatal both for himself and for Maki. At the end of a physical fight between the two characters, Acha kills Mbingazor with a bullet from a pistol that Maki had seized from a client, at the same moment she is stabbed. Before shooting herself in the head, she reveals to Acha that the man she had just killed is none other than the brother she has been looking for. Acha is lost now more than ever before. She loses Maki, the only support system in her life, and she herself has put an end to the personal and ultimate hope of finding her brother, her dream of finally reaching a haven of peace. The separation from him is twofold; having realised that she had just been raped by her own brother. Herein is a dour overview of Congolese society. With what means is Acha going to face the challenges during the rest of her life? The memory of this bloody scene ending with fratricide, the money that Maki brought back, and that could/should have taken them out of the circle of poverty and violence, perhaps a child from incest and rape. Acha, like Congolese society, was not able to get out of the vicious cycle. Through a muffled cry of anger in the form of a film noir Machérie Ekwa Bahango seems to reveal that the spiral of despair continues.
Maki'la de Machérie Ekwa Bahango, un film noir par Hassouna Mansouri

Maki'la de Machérie Ekwa Bahango est un film de genre avec des composantes locales puisées dans les rues de Kinshasa, la capitale de la République Démocratique du Congo. Ces rues et les enfants qui y vivent coupés de toutes attaches familiales et sociales sont l'objet de beaucoup de fantaisie. Ils sont souvent traités comme sujets sensationnels et souvent même teintés de misérabilisme et de pathétique. La toute jeune cinéaste congolaise, elle en est à son tout premier long métrage, en fait un matériau cinématographique.

Lire l'intégralité de l'article @ http://africine.org/?menu=art&no=14427

05 April 2018

Crowdfunding: ATA NDELE de/by Malkia Mutiri

Crowdfunding: ATA NDELE de/by Malkia Mutiri



Description:

The film « Ata Ndele" was born from the need to present, in a less stereotyped way, Belgian characters of foreign origin. To do this, Malkia and Nganji wrote a story of love, friendship and power struggle evolving at each stage of the characters’ lives. The main challenge was to take as a point of departure an idea that is often described as an Afro-European narrative to then being able to question a fundamentally human problem, namely: What remains of a collective ambition when it conflicts with the evolution of our private life?

Le film « Ata Ndele » est né de l’urgence de présenter de façon moins cliché que d’habitude des personnages belges d’origine étrangère.  Pour ce faire, Malkia et Nganji ont écrit une histoire d’amour, d’amitié et de rapport de force évoluant à chaque étape de la vie des personnages. Le principal défi était de prendre comme point de départ une idée que l’on qualifie par raccourci de récit afro-européen avant d’arriver à interroger une problématique foncièrement humaine, à savoir : que reste-t-il d’une ambition collective lorsqu’elle entre en conflit avec l’évolution de notre vie privée ?

Bio : Malkia Mutiri

Co-producer, co-writer, director, director of photography.
After studying at  l'Ecole Supérieure des Arts "75", Malkia does photo and video reports before making music videos, notably for singer Soul T and rapper Zwangere Guy. "Miel", Malkia's first short film receives a special mention at the KVS Film Festival System D in December 2016. "Ata Ndele" is her second short film.

Co-productrice, co-scénariste, réalisatrice, directrice photo.
Après ses études  à l'Ecole Supérieure des Arts le "75", Malkia signe des reportages photos et vidéos avant de réaliser quelques clips musicaux, notamment pour le chanteur Soul T et le rappeur Zwangere Guy. Miel, le premier court-métrage de Malkia reçoit une mention spéciale au Film Festival System D au KVS en décembre 2016.  "Ata Ndele" est son deuxième court-métrage. 

Pour rejoindre la compagne kisskissbankbank pour ATA NDELE et la soutenir:

To join the ATA NDELE kisskissbankbank campaign and to make a contribution: 

04 April 2018

CINEFFABLE (Paris) 2018: Submissions are now open | Les inscriptions sont maintenant ouvertes !

CINEFFABLE (Paris) 2018: 

Submissions are now open
 Les inscriptions sont maintenant ouvertes !

Festival International du Film Lesbien
& Feministe de Paris

Paris International Lesbian
& Feminist Film Festival


Réalisatrices | Women Filmmakers




COMMUNIQUÉ DE PRESSE | PRESS RELEASE

Appel à films pour le 30e festival Call for films for the 30th festival

Les inscriptions sont ouvertes
Submissions are open

Vous avez jusqu'au mardi 15 mai pour nous envoyer vos films ! 
You have until 15 May to send your films

La 30e édition du festival se déroulera à Paris du 31 octobre au 4 novembre 2018.
The 30th edition of the Festival will take place in Paris from 31 October to 4 November 2018. 

Vous trouverez notre règlement et nouveau formulaire d'inscription en ligne sur cineffable.fr 
You will find the application rules and online entry form at cineffable.fr 

Court-métrages, long-métrages, fictions, documentaires, animations, films expérimentaux : toutes vos œuvres traitant de thèmes lesbiens et/ou féministes sont les bienvenues ! 
Shorts, full-lengths, fictions, documentaries, animations, experimental films: all your works on lesbian and/or feminist themes are welcome!

À vos caméras, mesdames ! | Grab your cameras, ladies!


03 April 2018

Film Africa 2018: Call for Submissions Open - Royal African Society Film Festival, London

Film Africa 2018
Call for Submissions Open  
Royal African Society Film Festival, London

PRESS RELEASE

Regular Deadline: 30 June 2018

Film Africa is an annual London film festival celebrating the best African cinema from across the continent and diaspora brought to you by The Royal African Society. Established in 2011, every year Film Africa brings diverse London audiences a high quality and wide-ranging film programme accompanied by a vibrant series of events, including director Q&As, talks and discussions; professional workshops and master classes; school screenings and family activities; The Industry Forum; and Film Africa LIVE! music nights. Film Africa also recognises and supports new film making talent through the Baobab Award for Best Short Film and the Audience Award for Best Feature Film.

The 2018 festival will take place in venues across London from Friday 2 to Sunday 11 November.

Film Africa aims to:

- Be the premier platform for African cinema in the UK, through our annual festival and year-round programming.

- Offer African and Diaspora filmmakers the opportunity to present their work to new audiences in London.

- Present culturally diverse London audiences an increased choice of film festivals.


Promote a better understanding of Africa through film, by stimulating debate around contemporary socio-political issues raised in the films we screen.

- Support African filmmaking through festival awards and initiatives.

- Build links with film festivals and organisations around the world to promote the main-streaming of African cinema internationally.

- Create new opportunities for exhibition, distribution and networking through our annual Industry Forum and events programme.


Film Africa accepts entries via online submissions platform FilmFreeway.com. FilmFreeway offers free HD online screeners, Vimeo and YouTube integration, and more. Click to submit your film: filmfreeway.com/festival/FilmAfrica. The deadline is 30 June 2018. 

23 March 2018

African Women in Cinema Blog Updates | Actualités - 23.03.2018 News around the Internet | Les infos autour de l’Internet


African Women in Cinema Blog
Updates | Actualités
23-03-2018

News around the Internet |
Les infos autour de l’Internet

Content | Contenu

African Women Filmmakers
Josza Anjembe
Angela Aquereburu
Amma Asante
Claire Diao
Festival Africain des Films de Femmes Cinéastes (FAFFCI)
Huguette Goudjo
Tiffany Haddish
Nadjibatou Ibrahim
Philippa Ndisi-Herrmann
Priscilla Nwanah
Monique Mbeka Phoba
Apolline Traoré


African Women Filmmakers
African women filmmakers breakdown barriers and challenge taboos. 08 March 2018. Emmanuelle Landais. dw.com

Josza Anjembe
J’ai decouvert la fiction comme si je decouvrais une planete. Par Falila Gbadamassi | Publié le 02/03/2018. Geopolis

Angela Aquereburu
Angela Aquereburu, la Shonda Rhimes togolaise. Intothechic. Leslie Muya. 19 février 2018. intothechic

Amma Asante
Amma Asante To Direct Drama Thriller ‘The Billion Dollar Spy’. 15 March 2018. Hollywoodsblackrenaissance.

Claire Diao
JCFA 2018 : qui est Claire Diao?. Assétou Maiga. 03-05-2018. Queenmafa.

Festival Africain des Films de Femmes Cinéastes (FAFFCI) 
La première edition du FAFFCI a porté ses fruits. 21 mars 2018. L’œil d’afrique.

Huguette Goudjo
Costumière de cinéma et fière d’être. 14-03-2018. EcranBenin.

Tiffany Haddish
Tiffany Haddish Talks About Upcoming TBS Comedy ‘The Last OG,’ the Oscars, & the Importance of Authenticity. K. Nicole Mills. 13 March 2018. Hollywoodsblackrenaissance.
Nadjibatou Ibrahim
Tout sur l’actrice béninoise Nadjibatou Ibrahim. 07 mars 2018. EcranBenin

Priscilla Nwanah
Producer extraordinare. Wocaf-instagram

Monique Mbeka Phoba
Master class à Isma. 08 mars 2018. Isma-benin.org.

Apolline Traoré
Burkina Faso director gives African women authentic voice
Joe Bavier. 05 March 2018. Reuters.

VIDEO:

Philippa Ndisi-Herrmann
https://vimeo.com/177446004
Trailer for Feature-length Documentary, New Moon, by Philippa Ndisi-Herrmann (2018).




LINKS | LIENS : AFRICAN WOMEN IN CINEMA BLOG

African Women Filmmakers break barriers, Josza Anjembe, Angela Aquereburu, Amma Asante, Claire Diao, Festival Africain des Films de Femmes Cinéastes (FAFFCI), Huguette Goudjo, Tiffany Haddish, Nadjibatou Ibrahim, Philippa Ndisi-Herrmann, Priscilla Nwanah, Monique Mbeka Phoba, Apolline Traoré

Akosua Adoma Owusu, Ngozi Onwurah, Cheryl Dunye, Kagendo Murungi 

Safi Faye, Grada Kilomba, Oulaya Amamra, Déborah Lukumuena, Maïmouna Doucouré, Aicha Macky, Marian Edusei

Djia Mambu, Sofia Djama, Rahmatou Keïta, Kis Keya, Anisia Uzeyman
Grada Kilomba, Jabu Nadia Newman, Safi Faye, Claire Diao, Lerato Mbangeni

Isabelle Boni-Claverie, Chinonye Chukwu, Mona Ngusekela Mwakalinga, Jabu Nadia Newman, Lineo Sekeleoane, Josza Anjembe, L'autonomisation des femmes: CNA Afrique (Cameroun)

Pauline Mvele Nambané, Samantha Biffot, Yveline Nathalie Pontier, Apolline Traoré, Dyana Gaye, Françoise Ellong, Penda Diouf, Nadia El Fani, Cheryl Dunye, Angela Aquereburu, Claire Diao, Rahmatou Keïta, Aïcha Macky

Mignotae Kebede, Mouniratou Lougué, Nicole Amarteifio, Ruth Kapinga, Nikyatu Jusu, Gabourey Sidibe, Ingrid Agbo

Tope Oshin, Lupita Nyong’o, Kaouther Ben Hania, Rungano Nyoni, Femmes en audiovisual (CNA), Arts Femmes Bamako, Aïssa Maïga

Naky Sy Savané, Adélaïde Tata Ouattara, Theresa Traoré Dahlberg

Juliet Asante, Amandine Gay, Ganiath Yaya, Khadidiatou Sow, Rosalie N’Dah

OkayAfrica: Hana Baba, Leila Day, Akosua Adoma Owusu, Bella Agossou, Comfort Arthur, Yvonne Orji

Cheryl Dunye, Yvonne Orji, Djia Mambu, Judy Kibinge, Mamounata Nikièma

Zanele Muholi, Rungano Nyoni, Mulheres negras no Audiovisual, Nike Kadri

Cheryl Dunye, Souad Houssein, Yaa Asantewa-Undp Award, Twiggy Matiwana, Jihan El Tahri, Judy Kibinge, Safi Faye, et al

Jihan El Tahri, Mis Me Binga (International Women's Film Festival-Cameroon), Zuriel Oduwole, Rama Thiaw

Ngozi Onwurah, Les Tibeb Girls de Bruktawit Tigabu, Danai Gurira, Issa Rae, Liyana, executive-produced by Thandie Newton, Claire Diao, Bruktawit Tigabu, Akosua Adoma Owusu

Janaína Oliveira: Mossane de Safi Faye, Lucie Memba Bos, Judy Kibinge, Aïssa Maïga, Kaouther ben Hania

Michelle Mboya, Jihan El-Tahri, Rungano Nyoni, Iman Kamel

Kadhy Touré, Tope Oshin, Samantha Biffot, Claire Diao, Rungano Nyoni, Kaouther Ben Hania, La Parole des femmes, Ng’endo Mukii

Awa Traoré, Rungano Nyoni, Twitter: Rihanna, Lupita, Issa, Ava, Nneka Onuorah, Amina Weira


African Female Filmmakers, Rungano Nyoni, June Givanni, Le Grand Débat: Un autre visage du cinema français : Claire Diao, Aset Malanda, Nina Melo, Josza Anjembe, Jihan El-Tahri, 

Tibeb Girls (Ethiopia), Katarina Hedren, La colère dans le vent d'Amina Weira, Ben and Ara by Nnegest Likké, Sarah Bouyain

Mahen Bonetti, Marie Philomène Nga, Women in Moroccan Cinema, Josza Anjembe, Serkadis Megabiyaw

Raja Amari, Mama Colonel (film), Theresa Traore Dahlberg, Rayhana Obermeyer, Apolline Traoré

Fatima Sissani, Amandine Gay, Fatoumata Diawara, Dada Stella, Maïmouna N’Diaye, Leyla Bouzid, Marguerite Abouet

African Film and Media -Three Women Making Films in Zimbabwe -Nollywood and Women, Stephanie Dongmo, Rwandan Women in Film, A Conversation with Tala Hadid, Afrique Plurielle TV5Monde : Alimata Salambéré, Dada Stella Kitoga, Monique Mbeka Phoba, In My Father’s Village by Tapiwa Kapuya

Stéphanie Dongmo, Nadja Harek, Oshosheni Hiveluah, Fatou Kandé Senghor, Laureates: Mashariki Film Festival Awards 2017 (Rwanda), Laureates: Zambia Film and Television Awards (ZAFTAs) 2017

Véro Tshanda Beya, Félicité (Alain Gomis) analyse, Issa Rae, Juliet Yaa Asantewaa Asante, Khady Sylla in Memoriam, Tsitsi Dangarembga, Rumbi Katedza, The Republic – a pilot series by Nicole Amarteifio


Kaouther Ben Hania, Jihan El-Tahri, Iman Kamel, Kis Keya, Judy Kibinge