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.

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 "

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!