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- DirectorZeresenay MehariStarsMeron GetnetTizita HagereAbel AbebeA young lawyer travels to an Ethiopian village to represent Hirut, a 14-year-old girl who shot her would-be husband as he and others were practicing one of the nation's oldest traditions: abduction into marriage.origine: Etiopia/Usa, 2014; formato: 35 mm, 2.35 : 1; durata: 99’;
distribuzione: Moving Turtle; sito ufficiale: http://difret.com/.
La pratica del rapimento di una donna con lo scopo di arrivare al matrimonio è oggi, in alcuni luoghi, come in Etiopia, ancora utilizzata e accettata come tradizione. Ma cosa accade quando una tradizione secolare viene messa in discussione?
A questa domanda prova a rispondere Difret, primo lungometraggio diretto da Zeresenay Berhane Mehari, regista etiope con una lunga esperienza di studio e lavoro negli Stati Uniti.
Difret racconta l’incontro di due donne, Meaza Ashenafi, giovane avvocato che fornisce sostegno legale a donne e bambini che subiscono violenze, e Hirut, ragazza studiosa che vive in una zona rurale a tre ora da Addis Abeba. Hirut un giorno dopo la scuola viene rapita da un gruppo di uomini a cavallo e violentata dall’uomo che vuole prenderla in moglie, come secondo la tradizione del rapimento. Hirut riesce a scappare e nell’inseguimento uccide l’uomo che l’ha violentata e viene presa dalla polizia locale.
Il regista procede parallelamente su due binari, quello della giustizia dello Stato e quello della giustizia del villaggio: una sequenza mostra l’arrivo dei rappresentati dei villaggi che devono discutere con il consiglio degli anziani del destino di Hirut che ha infranto una legge. I più giovani la vorrebbero condannata a morte, gli anziani decidono per un’altra pena.
Mehari prende una posizione netta ma allo stesso tempo non giudica.
Difret non ha la complessità e le sottigliezze di Timbuktu di Abderrahmane Sissako, e neanche la sua sorprendente forza visiva, tanto per citare quello che è stato “il” film africano del 2014.
http://www.cinemafrica.org/spip.php?article1473
http://www.cinemafrica.org/spip.php?article1526
http://www.cinemafrica.org/spip.php?article1527 - DirectorDyana GayeStarsRalph AmoussouMarème Demba LySouleymane Seye NdiayeBetween New York, Dakar and Turin, the fates of Sophie, Abdoulaye and Thierno intersect and intermingle. From disillusionment to decisive encounters, their journey will lead them to make the choice of freedom.(88' | Senegal/Belgio/Francia)
Regia e sceneggiatura: Dyana Gaye
con Marème Demba Ly, Ralph Amoussou, Souleymane Seye N’Diaye (La pirogue), Maya Sansa (italiana, Bella addormentata)
http://ilmanifesto.info/le-stelle-di-dyana-gaye-al-festival-africano/
presentato a FCAAL 2013
Distrib: Films Distribution, Haut et court
contact : Films Distribution info@filmsdistribution.com
Tel. +33 1 53 10 33 99 Sanam Madjedi
Festivals and Marketing sanam@filmsdistribution.com
presentato al PAFF
Regista con madre italiana, uno dei protagonisti è l'italiana Maya Sansa e un altro è protagonista della Pirogue; girato a Torino, Dakar e New York
Tra New York, Dakar e Torino si incrociano le storie di Sophie, Abdoulave e Thiemo. Dalle prime disillusioni agli incontri decisivi, il loro viaggio li porterà a fare una scelta, quella della libertà. Tre destini incrociati che entrano in risonanza con il vissuto personale della regista francese di origine senegalese Dyana Gaye, la quale dimostra il suo talento nel porsi alla giusta distanza dai tre protagonisti e nella direzione degli attori.
Des étoiles è un film che segue le evoluzioni dei personaggi senza mai giudicarli, in un’atmosfera luminosa e commovente.
Commento anche su http://Cinemafrica.org/spip.php?article1440
Des étoiles è film che riflette sul tema della migrazione ma non in termini di dolore e disperazione, perché la Gaye porta sullo schermo il diritto dell’uomo a migrare e cercare la sua libertà e i suoi sogni: migrare è anche incontro, crescita e abbattimento dei muri che l’uomo stesso ha costruito. - DirectorKivu RuhorahozaStarsRamadhan BizimanaJustin MullikinGrace NikuzeLate nineteenth century, a white explorer is lost in the jungle. He sets off, trying to locate himself. In the thick rain forest, he encounters a young woman... Early twenty-first century, a foreign news correspondent just met a prostitute in a nightclub. They spend the night together but he mysterious girl disappears the day after. The news correspondent tries to find out what happened to her and eventually finish a travelogue.[link]http://www.aimlesswanderer-film.com[/link]
di Kivu Ruhorahaoza (Materia Grigia, Munyunrangabo)
Sundance 2015
film a episodi, che sembrano interconnessi tra loro
When the first explorers visited East Africa, the local Bantu populations called them “wazungu”, from the verb “kuzunguka”, to spin around, as a result of the explorer’s propensity to get lost in their wanderings… A white man meets a black girl. Then the girl disappears. The white man tries to understand what happened to her and eventually finish a travelogue.
Sembra particolare, un po' misterioso
hings of the Aimless Wanderer is a film about the sensitive topic of relations between “Locals” and Westerners. A film about paranoia, mistrust and misunderstandings. Half a century after African independences, one would have imagined that relationships between African “intellectuals” and the West would be appeased by now. But more than ever before, tensions are rampant and mistrust is at its peak. In these times of easy access to the Internet, those who consider themselves depository of African authenticity are alert to the Things of the Aimless Wanderer. The ways of the Westerner. - DirectorFrançoise EllongStarsPatricia BakalackBruno HenryAlain Bomo BomoMathilda is Marilyn, mother of Adam during the day and prostitute at night. She is ready for any sacrifice to raise her child...di Francoise Ellong
http://www.grizouille.com/#!waka/c10q9
Mathilde is Marilyn, a mother of one child, Adam, for whom she is willing to make any sacrifice necessary...
A film on the rights of women in Cameroon. First film from Françoise Ellong starring Patricia Bakalack & Bruno Henry - DirectorHermon HailayStarsFereweni GebregergsKassahun GetatchewDawit GulilatA young Addis Ababa taxi driver gets caught up in the dark side of love, causing his taxi to be stolen. He finds himself stuck in a relationship with a prostitute, making him confront his past and discover what is the price of love.Directed by Hermon Hailay (2015 | Ethiopia | 99 minutes)
http://priceoflovefilm.com/
PAFF, Rotterdam, Stoccolma, Cairo, Londra, Lumieres d'Afrique,Toronto, Zanzibar, Cannes, Fespaco
A cab driver and a beautiful young prostitute fall in love while struggling to survive on the mean streets of Addis Ababa, in this frank, gritty drama from Ethiopian writer-director Hermon Hailay.
One of the leading female filmmakers in Ethiopia, Hermon Hailay has never shied away from hard-hitting social issues. In her third feature, Price of Love, she offers a frank, gritty look at the sinister underworld of Addis Ababa's commerce in flesh, and the toll it takes on those trapped within it.
Outside a fancy nightclub, the alluring young Fere (Fereweni Gebregergs) frantically jumps into a taxi after freeing herself from the grip of a middle-aged man. Examining Fere in his rearview mirror, cab driver Teddy (Eskindir Tameru) can guess that she, like thousands of young Ethiopian women — including his own mother — was lured into the dark world of prostitution networks in the Middle East by the promise of making a fortune in Dubai. Growing up on the street after his mother died when he was a teenager, Teddy had fallen into addictions to alcohol and chewing khat, until the priest to whom his mother had entrusted his care gave him a second chance by lending him the money to buy a cab licence.
As Fere and Teddy grow closer to each other, they discover that falling in love can be an emancipation, a coming into their own — but the cruel reality is that it comes with a very high price.
Hailay was raised in a neighbourhood where prostitution was rife, and with this film she set out to tell the stories of the people she knew: "young, beautiful women, mothers, sisters, and friends," as she describes them. Independently produced and shot with a small eight-member crew in real locations throughout Addis Ababa, Price of Love tells those stories with courage, intelligence, and boundless compassion. - DirectorCary Joji FukunagaStarsAbraham AttahEmmanuel AffadziRicky AdelayitorA drama based on the experiences of Agu, a child soldier fighting in the civil war of an unnamed African country.[USA] di Cary Fukunaga
con Idris Elba (Sometimes in April, Long Walk to Freedom)
Presentato in anteprima mondiale al Festival di Venezia per poi essere proiettato al Toronto International Film Festival, Idris Elba interpreta un signore della guerra che addestra un bambino di nome Agu (il piccolo Abraham Attah) con l’obiettivo di trasformarlo in un bambino soldato. Il film è basato sull’omonimo romanzo dell’autore nigeriano Uzodinma Iweala.
Distribuito da Netflix e BleckerStreet pr@netflix.com
ExhibitorAssistant@BleeckerStreetMedia.com
Su Internazionale, una recensione non positiva (troppo violento)
Vedi ottima recensione su http://blogs.indiewire.com/shadowandact/beasts-of-no-nation-violence-of-no-value-20151019?utm_medium=sailthru_newsletter&utm_source=saDaily_newsletter
e su http://africasacountry.com/2015/11/beasts-of-no-nation-and-the-child-soldier-movie/
estratto dalla critica di indiewire... :
It is not so much the graphic violence and horrific reality of children being turned into killing machines that make "Beasts of No Nation" difficult to watch, but the lack of space given to looking behind, beneath, and beyond this violence. In the end, "Beasts of No Nation" gives us little more than war porn. Beautifully shot and skilfully crafted war porn, but war porn nonetheless. - DirectorMerzak AllouacheStarsAdila BendimeradNassima BelmihoubAhcène BenzerrariOn the structure of the five daily prayers of the Muslim rite, the film tells us a day like any other in Algiers lived from various terraces of the buildings.
- DirectorDonald MugishaJames TaylerStarsLwassa AliEmmanuel BandiMutagubya FestoEven though he is only 15 years old, when his father is injured in a road accident Abel takes up the responsibility of manning the family 'boda boda' to provide for the family. Abel however, is always on the lookout for a shortcut and when a local hustler offers him the chance of being a snatch and grab get-away driver, he lurches headlong into a world of easy money and quick thrills.di Donald Mugisha (Uganda | 85' | 2015)
Verona 2015
http://www.bodabodathieves.com/
"Boda" a Kampala (Uganda) sono i piccoli moto-taxi che consentono di muoversi agevolmente nel caotico traffico della città
Il film (omaggio africano a Ladri di Biciclette) segue la storia di Abel che vive a Kampala e, come tutti i suoi coetanei, non ha alcuna prospettiva per il futuro. La sua vita cambierà quando il padre, guidatore di boda boda (mototaxi), a causa di un incidente deve fermarsi e abbandonare il lavoro.
realizzato da Yes! That’s Us is a filmmaking collective and pan-African statement which affirms the collaborative nature of filmmaking and of the importance of finding indigenous working models and distribution solutions that suit conditions on the ground. - DirectorSelé M'PokoStarsHolly Joy GainesFérré GolaMoïse IlungaJohn of God is the world's greatest musician...in his own mind. When an American film maker is sent to Kinshasa - DR Congo to do a 'tell all' story about him, his talent is put to the test.
- DirectorBiyi BandeleStarsIretiola DoyleNse Ikpe-EtimOmoni OboliA seed with different character.Di Biye Bandele
con Ireti Doyle , Omoni Oboli, Nse Ikpe-Etim, Dakore Akande
A Lagos, in Nigeria, quattro donne di cinquant'anni fanno il punto della situazione sulle loro vite e sui loro amori nel corso di una settimana.
Netflix
Indiewire
The Africa Hollywood Doesn’t Want You to See
theupcoming.co.uk
http://www.theupcoming.co.uk/2015/10/16/london-film-festival-2015-fifty-review/
http://www.bellanaija.com/2015/10/a-movie-to-see-again-read-the-seyifunmi-ajanakus-review-of-mo-abudus-film-fifty/
With Fifty, we aren’t confronted with the dirty littered streets, the bus parks and its usual noisy crowd, the hustle and bustle associated with Lagos and most especially dilapidated buildings. No, this movie portrays Lagos in its best possible light yet and we love it.
‘Fifty’ showcases the lives of four middle aged women in their late 40’s and early 50’s dealing with life issues that are seemingly reserved for the youth. We watch them explore their sexuality, relationships and witness how their lives connect regardless of their social status and class. How they juggle their career and every day life, determined to create a balanced lifestyle, by infusing excitement into their lives.
We are also shown how unresolved traditions and obligations are dealt with in the lives of these African women.
Fifty is intriguing as it keeps you glued to your screen from start to finish. I’ll attempt to make a solid case for the movie and why I enjoyed every bit of it.
It was a great source of entertainment with its brilliant cast and plot twists.
'Four Women, One Week, Four Journeys, One City'
In the resurgence for telling the story of a new Africa, the film FIFTY becomes more important in creating an honest insight of Africa in contrast to the stereotypical fatalistic stories filmmakers tend to tell of the continent. These stories mould the worldview of Africa as a single story. As Africans living in Africa, we are passionate about telling our stories, of a multidimensional reality that is a burgeoning, pioneering, cosmopolitan and progressive Africa.
With FIFTY, we push the boundaries to uncover the lives of Lagos’ contemporary and glamorous upper class, sharing the world of four women as they rise above adversity to stand as they truly are; modern African women. Women of substance, class and values. - DirectorYared ZelekeStarsRediat AmareKidist SiyumWelela AssefaWhen an Ethiopian boy moves in with distant relatives he takes his pet sheep with him but the upcoming holidays spell danger for his beloved friend.2015 - Ethiopia-France-Germany-Norway-Qatar | 94' | Amharic
regia di Yared Zeleke
distribuito da Film Distribution ( la stessa di War Witch http://www.filmsdistribution.com/Film.aspx?ID=11744)
presentato ai festival di Cannes 2015, Toronto 2015, Milano FF, Oscars 2016, e altri ancora
SYNOPSIS
Ephraim is a young Ethiopian boy. His father leaves him and his sheep, from which he is inseparable, to be looked after by distant relatives, far from his drought-ridden homeland. Ephraim isn’t very good at farming, but he has a hidden talent: he is an excellent cook. One day, his uncle tells him that they have to sacrifice his sheep for the next religious feast. The young boy, however, is ready to do anything to save his only friend and return home
http://www.theguardian.com/film/2015/may/21/lamb-review-a-gorgeous-study-of-rural-ethiopian-life
LAMB
Sheer brilliance knits together first Ethiopian film at Cannes
Yared Zeleke’s sharp eye for the culture of his homeland is showcased in this tremendous ethnographic debut
The first image in Lamb is a closeup of a small boy’s hand laying gently on the thick, auburn wool of of a sheep. It may be a one-sided relationship –it’s hard to get inside the head of livestock –but Ephraim (Rediat Amare) clearly loves this animal. He lives in a small village in Ethiopia with his father, an area troubled by drought. His mother has recently passed away and his father has decided that he will take the boy to live with cousins in a farmland area with rolling green hills while he goes to Addis Ababa looking for work.
The new family consists of a loving but all-business great aunt who keeps a whip by her side for occasional discipline, a stern uncle, an aunt concerned with her sick daughter, and another daughter who is past marrying age but seems more interested in reading newspapers than getting hitched and having children.
What’s most exciting about Lamb, the first Ethiopian film to play at Cannes (it appears in the Un Certain Regard section), is that it is an ethnographic film made entirely from the inside out. First-time feature director Yared Zeleke attended New York University’s film school, but grew up in Ethiopia’s urban slums during some of its most troubled years. While we’re following Ephraim into a new environment, there’s little explaining done for our benefit. We’re dropped in and left to figure it out for ourselves.
The family are subsistence farmers, and just barely getting by. They have no electricity or gadgets or western clothing. What they have instead are plenty of customs, like putting on an exaggerated show of mourning when Ephraim first arrives, and preparing for a forthcoming Christian feast. It is decided that Ephraim’s sheep will be slaughtered for this holiday, setting up something of a ticking clock. Heading down to the small marketplace, where car radios blaze with music familiar to fans of the Éthiopiques compilation ,Ephraim scopes out a bus ticket. He isn’t sure if he wants to go to the city to find his father or to return to his old village. He knows he can’t stay here, though, with the local bully kids, an unsympathetic uncle and a sword looming over his beloved pet’s head.
To earn money, he starts cooking and selling samosas, but his uncle does not like the idea of him cooking –it is woman’s work. Cooking reminds Ephraim of his late mother, who taught him what look like some delicious tricks, and while the aunts don’t exactly encourage him to cook, they can’t deny he’s got the knack.
Much of Lamb’s run time is spent simply absorbing the culture, and Zeleke has a really sharp eye. Amid the gorgeous landscapes (shot by Josée Deshaies, the recent cinematographer of the lush Saint Laurent), we watch the family as they farm and celebrate, living a lifestyle far removed than one lived in the West. Their homes have dirt floors, they lack electricity, they cook over a small indoor flame. A stray reference is made to Ephraim’s mother being Jewish, and there’s a lovely scene with Ephraim and a small Muslim girl. There’s no suggestion of religious strife –their problems (and there are always problems) emerge from the general state of poverty.
Zeleke is clearly inspired by arthouse classics like Satyajit Ray’s Pather Panchali and, owing to the animal aspect, the Italian neorrealist classic Umberto D. This may make Lamb seem a little bit like old news in terms of the development of world cinema, but I’m ready to let it slide considering the fascinating particulars of this setting. It’s bittersweet, to be sure, but Lamb would also work as a film to show your children –it might allow them an emotional connection to ways of life so rarely explored on film - DirectorAndrew DosunmuStarsDanai GuriraIsaach De BankoléAnthony OkungbowaAdenike and Ayodele, a Nigerian couple living in Brooklyn, are having trouble conceiving a child - a problem that defies cultural expectations and leads Adenike to make a shocking decision that could either save or destroy her family.di Andrew Dosunmu (USA/Nigeria | 2013 | 107')
con Isaach de Bankolé, Danai Gurira, Bukky Ajayi, Tony Okungbowa, Yaya Alafia;
produzione: Parts and Labor, Loveless; distribuzione internazionale: Oscilloscope Laboratories; sito ufficiale: oscilloscope.net/motherofgeorge
info@oscilloscope.net
Il Sundance Film Festival è stato il trampolino di lancio per il secondo lungometraggio diretto da Andrew Dosunmu, Mother of George (2013). Dopo Restless City (2011), il regista nigeriano continua la sua esplorazione nel mondo dell'immigrazione africana nella Grande Mela.
Un tradizionale matrimonio nigeriano apre Mother of George: i due sposi sono Ayodele and Adenike Balogen. Danze, tradizione e discorsi di raccomandazione e buon augurio accompagnano la prima notte dei due giovani. La suocera di Adekine, Ma Ayo, dona alla ragazza una collana per la fertilità. La vita di Adenike a Brooklyn è felice, ma non riesce a rimanere incinta e questo crea problemi: Ma Ayo parla con Adenike pensando a un'eventuale seconda moglie. La coppia entra in crisi, Ayodele si rivolge ad un medico che le spiega che può aiutare lei e il marito a risolvere il loro problema ma Adenike non vuole saperne di analisi e medici. La giovane in crisi si lascia convincere dalla suocera a risolvere il loro "problema" in un modo che metterà in crisi tutta la famiglia.
L'Africa a New York: in Mother of George, Dosunmu sposta il centro dell'azione da Harlem a Brooklyn, ma la città è un personaggio vero e proprio, così evidenziato dai colori a tinte forti e contrastanti della fotografia. New York non è solo un luogo, è anche uno degli elementi che mette in moto la storia perché probabilmente in una storia come quella di Ayodele non ci sarebbero potuti essere alcune scene, come quella dal medico, in un film ambientato in Nigeria.
Il mondo dentro e il mondo fuori: la linea tra le due realtà è fortemente sottolineata dalla scelta del regista e della fotografia. New York e il suo caos sono spesso mostrati al rallentatore per accentuare l'elemento di straniamento dei personaggi all'interno della città. Allo stesso tempo alcune scelte sembrano quasi restituire l'immagine della città per immagine fisse, come fossero quadri, come ad esempio l'uso di colori forti nella scena in cui Ayodele, con i suoi abiti colorati, passa lentamente davanti ad un muro blu elettrico. Questa ricerca stilistica a volte sembra sopraffare la sceneggiatura che a volte sembra quasi passare in secondo piano.
Mother of George è una storia d'amore, di tradizione, d'innocenza, di costume, di come si lotta per mantenere un modo di vita in un mondo che non riesce a comprenderlo e di come ci si potrebbe venire incontro. Un film intenso, che rimane impresso negli occhi per i suoi colori e per i volti, sinceri e sofferenti, combattuti tra l'amore, il dolore e la speranza, di Adenike e Ayodele. - DirectorChristopher KirkleyStarsFatimata FaloRhaicha IbrahimAhmoudou MadassaneA revolutionary story of guitars, motorcycles, cell phones, and the music of a new generationPurple Rain versione Touareg
Akounak Tedalat Taha Tazoughai (Rain the Color Blue with a Little Red in it) [2015, 75 min]
di Christopher Kirkley in collaboration with Mdou Moctar and Jerome Fino
Starring guitarist Mdou Moctar, Akounak Tedalat Taha Tazoughai (English: "Rain the Color of Blue with a little Red in it") is a feature length fiction film, shot entirely in Agadez, Niger. Akounak tells the universal story of a musician trying to make it "against all odds," set against the backdrop of the raucous subculture of Tuareg guitar. The protagonist, real life musician Mdou Moctar, must battle fierce competition from jealous musicians, overcome family conflicts, and endure the trials of love - all while coming to terms with one of the biggest barriers: himself.
Akounak is a fictional tale with a story developed by Tuareg youth, written and produced for a Tuareg audience. Stylistically based on the model of Western rock-u-drama, the story has been written from the common experiences faced by Mdou and fellow musicians. Akounak is the first fiction film ever shot in the Tuareg language. Subtitles are available in English and French.
Both a homage to Purple Rain and The Harder They Come, Akounak is based on the universal hero, the struggle of a musician to overcome a series of conflicts. In execution, many techniques have been adapted from Poverty Row, Italian Neo-Realism, and the experimental films of Jean Rouch. While there are a plethora of films concerning the Tuareg guitar, all are documentaries. Akounak is the first fiction film to explore the scene in this format, in a musical film that has already caught the attention of the public in Niger.
Directed by Christopher Kirkley
Director of Photographer Jerome Fino
Produced by Sahel Sounds, L'improbable, and Tenere Films - DirectorFlora GomesStarsDanny GloverHedviges MamudoMelanie de Vales RafaelIn this tale of perseverance, starring Danny Glover, a group of African children, their country ravaged by warfare, are forced to face survival. With countless adults fleeing the country amid harrowing death and destruction, young men and women must band together to put their home back together.Chiedere a Verona
The Children's Republic, (2012, Fra, Por, Ger, Bel, 75')
by Flora Gomes (Info@floragomes.com) con Danny Glover
http://www.larepubliquedesenfants.eu/
https://youtu.be/JLRWEe4tQJ8
http://2014.paff.org/filmfest/2014-films/childrens-republic-the/
In an unidentified African country, the citizens are ruled by a violent and unjust political and economic system. One day the adults run away, exhausted by the wars they started, leaving their children behind. The children must rebuild their world and form a stable and prosperous country. When a group of traumatised child soldiers enters their country, they threaten to disrupt the peace and order of the Children’s Republic. Stars Danny Glover, Hedviges Mamudo, Melanie de Vales Rafael, Joyce Simbine Saiete, Bruno Mauro Armindo Nhavene and Anaïs Adrianopoulos. - DirectorSherry HormannStarsSoraya Omar-ScegoIdriss Abdillahi HoufanehAwa Saïd DararWaris Dirie, born 1965 in Somalia, flees at thirteen when sold to be a mans fourth wife. She works as a maid at the Somalian embassy in London, then in a McDonald's where she's discovered and becomes an international top model. Then, in 1997 she speaks up against female genital mutilation.Fiore del deserto (Desert Flower | 120' | 2009) (UK, GER, FRA, AUS)
Un film di Sherry Hormann. Con Liya Kebede, Sally Hawkins, Craig Parkinson, Meera Syal, Anthony Mackie.
Ahora! film (casa di produzione indipendente di Verona)
Film del 2009 uscito in Italia nel 2016.
storia vera della modella Waris Dirie portavoce ufficiale della campagna dell'Onu contro le mutilazioni femminili
Waris è una bellissima ragazza somala che si ritrova catapultata nel cuore di Londra, a piedi nudi e con un passaporto fasullo in mano.
Un film che deve raccontare anche la tragedia ma riesce a farlo alternando il melodramma ai momenti comici.
Hormann ha un forte senso del cinema, evidente in alcune sequenze - come la scena dello specchio e quella della scala mobile - e fa scelte coraggiose come quella di mescolare orrore e comicità - la scena della visita ginecologica - anche se talvolta cede alla sottolineatura retorica, gravata da una musica incessante che accompagna tutte le parti drammatiche del film.
Ma è impossibile non innamorarsi di Waris-Liya che saltella sul set fotografico o si raggomitola in un portone londinese, che prima tiene gli occhi bassi per pudore e modestia e poi li solleva con fierezza davanti alla sala conferenze del Palazzo di vetro. - DirectorJoseph A. AdesunloyeStarsDudley O'ShaughnessyWale OjoAlassane SyLeke a young successful photographer lives a hedonistic lifestyle in London, but things change when he learns his estranged father has died in Senegal.White Colour Black (2016)
scritto e diretto da Joseph A. Adesunloye
con Dudley O'Shaughnessy,
Leke, a young successful photographer lives a very hedonistic lifestyle in London. He’s been estranged from his father for many years
and hasn’t returned to Senegal since his childhood. When his father becomes ill and suddenly dies, Leke makes the journey back to bury his father and to rediscover a culture he has long forgotten.
Patinato, inutile
http://www.whitecolourblack.com/
http://shadowandact.com/2016/09/08/check-out-trailer-for-new-feature-film-white-colour-black-premiering-at-bfi-london-film-festival-next-month/ - DirectorSeko ShamteStarsDaniel KijoGodliver GordianMagdalena MunisiAbel returns home after graduating and working in the US for 10 years and joins the Tanzanian corporate world where his ethics and morals are tested, and forced to make choices about the person he wants to become.Homecoming (TZ | 2016)
regista donna: SEKO SHAMTE
http://www.homecomingtz.com/
Homecoming tells the story of Abel, a 28-year-old young man who returns home after graduating and working in the US for 10 years and joins the Tanzanian corporate world where his ethics and morals are tested and he is forced to make choices about the person he wants to become. In short it is a coming-of-age tale.
Abel has left the US under mysterious circumstances that become increasingly clear as the film progresses. He moves in with his uncle, a former government minister in Dar es Salaam, while his father, a retired teacher, lives in the outskirts of Dar es Salaam. He begins work at a multi-national bank based in the city under the tutelage of his immediate boss, Alpha Mbwana and his MD, Michael Kauffmann and eventually uncovers a plot that throws his values into question and his life in danger. - DirectorOliver SchmitzStarsSteve CooganAndrea RiseboroughGarion DowdsA lawyer takes on a case of a prison guard in South Africa who is traumatized by the executions he's witnessed.Shepherds and Butchers (RSA | 2016 |107')
di Oliver Schimtz
con Steve Coogan, Andrea Riseborough, Garion Dowds
https://youtu.be/bn7aSKpP7nE
http://www.westendfilms.com/films/library/shepherds-and-butchers
Siamo nel 1987, in Sudafrica. Leon (Garion Dowds), un ragazzo bianco di 19 anni che lavora in una prigione, commette un crimine inspiegabile ammazzando sette uomini neri con una raffica di proiettili. Il suo destino sembrerebbe scontato, ma l’avvocato chiamato a difenderlo non reputa i fatti credibili.
Appassionato oppositore della pena di morte, Weber scoprirà grazie alla sua intelligenza che il ragazzo era stato mandato a lavorare in una situazione insopportabile per un essere umano: nel doppio ruolo di amico e giustiziere, diventando così il pastore e macellaio a cui allude il titolo del libro di Chris Marnewick, da cui sono tratti i fatti realmente accaduti.
South Africa, 1987. When Leon, a white 19-year-old prison guard commits an inexplicable act of violence, killing seven black men in a hail of bullets, the outcome of the trial - and the court’s sentence - seems a foregone conclusion.
Hotshot lawyer John Weber reluctantly takes on the seemingly unwinnable case.
A passionate opponent of the death penalty, John discovers that young Leon worked on death row in the nation’s most notorious prison, under traumatic conditions: befriending the inmates over the years while having to assist their eventual execution.
As the court hearings progress, the case offers John the opportunity to put the entire system of legally sanctioned murder on trial. How can one man take such a dual role of friend and executioner, becoming both shepherd and butcher?
Inspired by true events, this is the story that puts death penalty on trial and changes history. - DirectorTakeshi FukunagaStarsBishop BlayZenobia TaylorDuke Murphy DennisA struggling Liberian rubber plantation worker risks everything to discover a new life as a Yellow Cab driver in New York City.Out of My Hand
Takeshi Fukunaga’s directorial debut, “Out of My Hand,” is about a worker on a Liberian rubber plantation who wants to get away from a life overshadowed by civil war, and so moves to New York where he lives a new life as a taxi driver.
The film was made with support from the Liberian government and its Movie Union, who sponsored the shoot, and offered to pay for travel for its Liberian cast and crew, for the New York portion of production.
The film’s stars (Bishop Blay and Zenobia Kpoto), as well as of its cast for the Liberia portion of the shoot, are played by Liberians, who, for the majority, are acting for the very first time. - DirectorNabil AyouchStarsLoubna AbidarAsmaa LazrakHalima KaraouaneA group of women in Morocco make a living as prostitutes in a culture that is very unforgiving toward women in that profession.(Francia/Marocco, 2015; durata: 108')
di Nabil Ayouch;
Con Loubna Abidar (Noha), Asmaa Lazrak (Randa), Halima Karaouane (Soukaina), Sara Elmhamdi Elalaoui (Hlima), Abdellah Didane (Saïd)
produzione: LES FILMS DU NOUVEAU MONDE, BARNEY PRODUCTION - France, NEW DISTRICT, ALI N’ PRODUCTIONS - Maroc
distribuzione francese: Pyramide Films;
vendite internazionali: Celluloid Dreams
distribuito da “Cinema” di Valerio De Paolis
Said's Angels a Marrakech ovvero Much Sex About Nothing
http://www.cinemafrica.org/spip.php?article1557
Marrakech, oggi: Noha, Randa e Soukaina vivono insieme, amiche inseparabili e solidali, anche se a volte litigano violentemente. Tre donne sole, ognuna con un difficile passato familiare alle spalle, che si guadagnano da vivere facendo le prostitute. Oggetti del desiderio, corpi soppesati e toccati, sfruttati e insieme rifiutati. A darle aiuto, solo il mite autista e tuttofare Said, a cui poi si aggiungerà una quarta donna, Hlima, appena arrivata dalla campagna.
Questa in breve la sinossi di Much Loved, il sesto lungometraggio del franco-marocchino Nabil Ayouch, presentato alla Quinzaine des Réalisateurs: un ritratto scandaloso e irriverente sulla condizione femminile in Marocco che non riesce però a sottrarsi al pervasivo potere degli stereotipi di genere.
Ognuna delle tre donne ha una storia difficile alle spalle.
La forte Noha, che è un po’ la maitresse del gruppo, mantiene con il suo mestiere la famiglia, che vive nella Medina (madre, fratello, sorella e un figlio che ha dovuto lasciare alle cure della nonna): una famiglia che prima la disprezza e poi finisce per rifiutarla totalmente. Neanche con l’amante francese di mezza età va molto meglio: sparisce per lungo tempo, quando moglie e figlia sono presenti, per poi tornare da lei, a dirle che l’ama e a pregarla di passare con lei la vita, ovvero una notte di passione.
Soukaina appare tanto sicura e sensuale nel suo mestiere quanto dimessa e succube nei rapporti poco chiari con un giovane che l’aspetta di tanto in tanto, davanti il palazzo dove le tre vivono: forse un fidanzato che lei di fatto mantiene e che la costringe alle sue voglie, come in una scena di sesso rubato e animalesco.
Ronda, invece, non ha mai conosciuto suo padre, che ha visto solo una volta a quattro anni e che sa vivere in Spagna: la sua meta vagheggiata per rifarsi una vita. Lei è la timida e sensibile, una lesbica non dichiarata, che scopre di essere attratta da una donna francese, in una serata in discoteca, e con lei avrà la sua prima volta al femminile, anche questa però a pagamento (nonostante lei dica alla francese che “il denaro non è importante”).
Le tre donne vengono spesso invitate ai festini orgiastici organizzati da un gruppo di sauditi, felici di poter comperare tutto con il loro denaro: serate a base di alcol, musica, danze e sesso. Serate in cui il valore in denaro delle donne, si misura dalla loro capacità di sedurre e di farsi docilmente umiliare. Uno di loro in particolare si invaghisce di Soukaina, che diventa la sua ossessione e che continua a corteggiare senza mai riuscire a fare sesso con lei. Quando Soukaina si rende conto che si tratta di un gay non dichiarato, esplode la violenza. Soukaina finisce in ospedale e ad attenderla ci sono le sue amiche, un amico travestito che si prostituisce per strada e l’immancabile Said. In ospedale raccolgono e adottano anche Hlima, una giovane arrivata dalla campagna, incinta, costretta a prostituirsi e a dormire per strada per sopravvivere.
La violenza scatena la rabbia di Noha che, ubriaca, va a lanciare pietre ed insulti contro l’abitazione dei sauditi, che però la denunciano e la fanno arrestare: naturalmente, la violenza continua. Un poliziotto, che la tiene d’occhio da un po’, violenta Noha e poi le promette di liberarla se lei denuncerà una delle sue amiche al suo posto. Ma Noha non si perde d’animo. Tornata a casa chiede alle altre tre donne e a Said di cambiare un po’ aria: andranno in vacanza al mare, come delle vere signore. Le lasciamo di spalle, a guardare il mare e a chiedersi se vale la pena di tornare a Marrakech per ricominciare la loro vita di prostitute…
Il film si regge dal punto di vista narrativo ed emotivo sull’interpretazione appassionata e credibile delle interpreti, che sanno dare corpo a questo sguardo durissimo su una società declinata al maschile e soprattutto in cui tutte le relazioni umane sembrano essere determinate solo dal denaro e da rapporti di potere. Proprio per questo i momenti più riusciti del film sono proprio quelli più intimi e quotidiani, in cui le donne parlano fra loro, si confessano, si scontrano, si sostengono.
Detto questo, a mio avviso Ayouch non riesce davvero a liberarsi dai cliché che mette in campo e che sembra in qualche modo denunciare: non andiamo oltre il prevedibile immaginario della donna araba forte e sensuale, che è insieme vittima e ribelle, creando una sorta di gineceo solidale ed indipendente, ma solo all’apparenza: per essere indipendenti, c’è bisogno del denaro e per avere il denaro le donne si sottomettono. Se in parte è proprio questa contraddizione quella che si vuole rivelare nel film, lo sguardo di Ayouch non riesce a sottrarsi e a sottrarre lo spettatore da un gusto scopofilo, dal retrogusto morboso, che non fa che ripetere e mimare lo sguardo maschile violento e dominatore su queste donne. Così come il film sembra essere il sunto perfetto, ma superficiale, di alcuni personaggi e temi ricorrenti nel cinema di Ayouch, ma anche di un certo cinema maghrebino: una comunità ai margini della società, fatta di prostitute, travestiti e bambini di strada preda dei turisti stranieri.
Anche l’aspetto dello scandalo – il film è stato da poco censurato in Marocco – sembra più fare riferimento al gusto occidentale che alla realtà marocchina, e soprattutto, anche nel voluto approccio scandaloso, realistico e disturbante, si ripropongono alcuni tabù: guarda caso, l’unica scena di sesso che non viene mostrata, pur essendo anche quella a pagamento, è quella lesbica.
L’impressione finale è quella di un film dalla confezione impeccabile e accattivante, nonostante o forse proprio grazie al naturalistico e crudo ritratto sociale, che però mette troppa carne al fuoco, con troppi spunti che non vengono davvero approfonditi e rimangono solo sulla superficie, sulla carne, appunto, delle sue protagoniste.
Al Palais, durante il festival, in coda per entrare a vedere un altro film, un francese di mezza età, visibilmente appassionato di cinema, raccontava ad alcune amiche il film con (più o meno) queste parole: “Tre giovani donne che si divertono, hanno gli uomini in pugno e sono padrone della loro vita… solo che hanno qualche problema con la famiglia… in breve il sogno di ognuno!”.
Si direbbe un altro film da quello che ho visto io. O forse è questo quello che il film rischia di scatenare, se l’immagine patinata e accattivante prevale sulla giusta distanza cinematografica nello sguardo del regista, che sembra quasi suggerire in questo quartetto di personaggi una sorta di Charlie’s Angels del sesso a Marrakech.
Eppure, se Much Loved si salva, non è tanto per il suo voler urlare e mostrare oscenità, quanto nel riuscire – in extremis – a rifuggire dal didascalismo grazie a un gruppo di attrici convincenti e grazie a un profondo com-patire delle quattro protagoniste. E, allora, queste donne – per quanto punite, per quanto oltraggiate – mantengono una loro dignità, una loro forza e una loro naturale indipendenza. E, quindi, alla fine di Much Loved, non possiamo fare a meno di ammirarle e di ammirare – in maniera universale – l’eterna capacità di resistenza del mondo femminile. (quinlan.it/2015/10/07/much-loved/) - DirectorNabil Ben YadirStarsOlivier GourmetTewfik JallabVincent RottiersInspired from a true story of 1983. The story of a 1000 km peaceful march from Paris to Marseille fighting against racial discrimination and fighting for equality.(Fra, Bel | 120 ' | 2013)
di Nabil Ben Yadir (nato in Marocco e residente in Belgio)
con Jamel Debbouze
Nel 1983, in una Francia afflitta dall'intolleranza e dalla violenza razziale, tre giovani adolescenti e il curato di Minguettes intraprendono una grande marcia pacifica di oltre mille chilometri da Marsiglia a Parigi per l'uguaglianza e contro il razzismo. Nonostante le difficoltà e le resistenze che incontrano, il loro gesto porterà a una vera e propria ondata di nuova speranza sulla falsariga dei messaggi di Gandhi e Martin Luther King. Per dare un nuovo volto alla Francia, a loro si uniranno oltre 100 mila persone provenienti da ogni parte della nazione. - DirectorMandla DubeStarsThabo RametsiThabo MalemaWelile NzuzaAfter the events of June 16th, Mamelodi township schoolboy-hawker Solomon Mahlangu joins the military wing of the ANC to fight against the brutal oppression of the Apartheid regime, and he ends up becoming an icon of South Africa's liberation.Kalushi: The Story of Solomon Mahlangu (RSA, 2016, 105')
di Mandla Walter Dube
con Thabo Rametsi, Thabo Malema, Welile Nzuza
English, Afrikaans, Tsotsi-taal with English subtitles.
https://youtu.be/b3LLrx3Z4DM
As thousands of students have taken to the streets across South Africa in recent months, calling for wide-ranging reforms, a praise song for Solmon Mahlangu could often be heard. It’s fitting, then, that 2016 should mark the year that his remarkable story finally makes it to the big screen, exactly forty years after the Soweto student uprisings in which Mahlangu played a key role.
We meet Mahlangu as a 19-year-old hawker from the Mamelodi township, torn between selling veggies to support his family and joining his friends at the march on 16 June 1976. He skips the protest, but is brutally beaten by a police officer for jumping a train. This incident is a turning point for Mahlangu. Resolute, he goes underground with the ANC to train as a soldier.
Mandla Dube’s feature debut is full of rich, sweeping cinematography that takes you right to the action’s nerve centre, and a superb turn from Thabo Rametsi in the titular role. But it’s so much more than this. That South Africans are finally able to watch an anti-apartheid story brought to the screen by a black filmmaker, and told wholly from the black perspective, makes Kalushi a seminal film on the country’s continuing path to equality.
http://www.filmafrica.org.uk/opening-gala-2016-kalushi-the-story-of-solomon-mahlangu-uk-premiere/
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www.kalushimovie.com
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Kalushi, the South African feature film directed by Mandla Dube, about the life of freedom fighter Solomon Mahlangu, is scheduled to be screened at this year’s edition of the Durban International Film Festival (DIFF) which takes place from June 16 to 26.
Based on a true story written and produced by Mandla Dube with Leon Otto, the biopic, which has taken nearly nine years to complete, has been hailed as an important South African story. Kalushi chronicles the life of Solomon Mahlangu (played by Thabo Rametsi) whose life was ended at the age of 23 by execution during the height of apartheid. Mahlangu was a typical teenager at the time, growing up in the poverty stricken community of Mamelodi. He was a hawker on the township’s streets and trains in order to support himself and his family. After a brutal beating at the hands of the police, he went into exile to join the liberation movement and joined the African National Congress. in 1976, he was trained as an Umkhonto we Sizwe (MK) soldier. After undergoing military training, Mahlangu and his friends were caught in a gun battle with police in Johannesburg’s CBD,which resulted in two men being killed and two others wounded. Mahlangu’s friend Mondy (played by Thabo Malema), is severely beaten and tortured, while Kalushi faces a daunting trial in which the State seeks the highest punishment, death by hanging. Despite being innocent of the killing of two civilians during an attempted escape from the police, he was sentenced to death under the charge of “sharing the common purpose” of the group of activists.
“This is a film for people who care about the next person. This is how we honour Solomon Mahlangu. It’s about our humanity as human beings,” says award winning cinematographer and director Mandla Dube. “We see an ordinary young man who somehow becomes a political icon and, through this film, we see him transform from an average hawker to a human rights legend.”
The film marks the 35th anniversary of the death of Mahlangu and has received support from the South African government, notably a personal letter of endorsement by President Jacob Zuma, as well as the blessings of the Mahlangu family.
Kalushi screens at DIFF on Saturday, June 18, at 16:00 at The Playhouse, Thursday, June 23, at 12:00 at Luthuli Museum in Groutville and Saturday, June 25 at 20:00 at Musgrave Ster Kinekor.
http://www.durbanfilmfest.co.za/index.php/news/item/3249-kalushi-the-story-of-solomon-mahlangu-to-feature-at-37th-durban-international-film-festival.html
http://shadowandact.com/2016/08/06/biopic-on-the-short-life-of-south-african-freedom-fighter-solomon-mahlangu-currently-shooting/ - DirectorPriscilla AnanyStarsRukiyat MasudAdjetey AnangBexA woman has a disabled child and goes through several challenges to get healing for child having being abandoned by the father.Children of the Mountain (2016 USA | Georgia | Ghana)
di Priscilla Anany Williams
Tribeca film fest. 2016
A woman has a disabled child and goes through several challenges to get healing for child having being abandoned by the father.
Against the picturesque Ghanaian backdrop, Children of the Mountain is an honest exploration of a mother’s will in the face of much adversity. When her baby is born with a cleft lip, cerebral palsy, and Down syndrome, Essuman is led to believe that she has a ‘dirty womb.’ Her promising future as a wife and mother is shattered as her lover disowns her and the community eyes her with suspicion. In a Ghana of old wives' tales and superstition, such deformities in the child are surely the work of the devil. As Essuman searches for a cure to her son’s illness, she encounters futility at the hospitals and dubious religious leaders and medicine men. In these dire times, she oscillates between having the utmost devotion to her son and controversial attempts at self-preservation. However, in the rural mountains of Ghana—where the souls of children are said to wait—their future may contain hope. Priscilla Anany's debut feature is a thoughtful and visually-luscious film and a story of the human spirit. - DirectorJohn IrvinStarsTumisho MashaKhaled BenaïssaHenok BerihuneSet in 1962 MANDELAS GUN is a political thriller, based on Mandelas African Odyssey. As Commander-in-Chief of the Liberation Army Umkhonto we Sizwe (the MK) he undergoes military training in Algeria and Ethiopia while surviving assassination attempts and betrayal. In South Africa he is finally arrested with the connivance of the CIA In the crucible of the surging African Liberation Movements of the early 60s not only does he study the art of war but also leadership and political survival. MANDELAS GUN is a thrilling biopic, supported by eyewitness accounts from Mandelas advisors and comrades. Mandela the Man is portrayed as a brilliant but complex warrior. The film celebrates a national and global icon a man who is dedicated to the overthrow of an infamous racist regime; also a man whose impetuosity and vanity are tempered by compassion, self doubt and a relentless belief in justice for all South Africans, regardless of race. MANDELA'S GUN reveals a man the world barely knows and how in 1962, in the final moments of his freedom, Mandela played a pivotal role in the fate of a nationMandela's Gun (2016 | RSA | 93') HD and DCP
by John Irvin with Tumisho Masha
http://www.zidaka.co.za/mandelas-gun.html
In 1962, Nelson Mandela left South Africa for military training in Algeria and Ethiopia. There, the young and radical freedom fighter is said to have received a gun (a Makarov pistol) from Ethiopian Emperor Haile Selassie. That gun, which Mandela buried upon his return to South Africa, is said to be the first weapon linked to the anti-apartheid struggle.
Mandela’s Gun is the little known story of Mandela – the revolutionary leader, the youthful firebrand, a member of a liberation struggle who, like many, dedicated his life to overthrow a heinous tyranny and eventually succeeded. This is the story of how in a few brief months before his capture, Mandela inspired members of the armed struggle to win freedom, dignity - DirectorLicínio AzevedoStarsMatamba JoaquimMelanie de Vales RafaelThiago JustinoA very dangerous train journey through war torn Mozambique. Civilian passengers are both protected and harassed by a troop of ill-disciplined soldiers on board to fight off a rebel army in the bush. All must work together to repair sabotaged track and reach safety.Comboio de Sal e Açucar (The Train of Salt and Sugar) [Piero]
(Pt, Moz, Fra, Rsa, Bra, | 2016 | 93')
Blu-ray, DCP
di Licinio Azevedo. Con Matamba Joaquim, Thiago Justino, Melanie de Vales Rafael, Hermelinda Simela, António Nipita, Sabina Fonseca,
https://vimeo.com/185304457
https://youtu.be/8X7hGAEBLPQ
Regista (brasiliano) di Virgem Margarida
produzione: Les Films de l'Étranger, Ukbar Filmes, Ebano Multimedia [MZ], Urucu Media [ZA]
distr. Alambique (PT) Praça Duque Terceira, #24, 4th. FL. Sala 21 1200-161 LISBON +351 21 346 5238 geral@alambique.pt www.alambique.pt
www.trigon-film.org/en/movies/Comboio_de_sal_e_acucar
Nel 1989 il Mozambico è un paese distrutto dalla guerra civile. Il treno che collega Nampula al Malawi è l’unica speranza per coloro che sono disposti a rischiare la vita pur di barattare qualche sacco di sale con lo zucchero. Il viaggio, denso di ostacoli e violenza, procede lentamente lungo i binari guasti per atti di sabotaggio. Mariamu, una delle viaggiatrici più assidue, compie il tragitto insieme all’amica Rosa, un’infermiera in viaggio verso il suo nuovo ospedale e alla prima esperienza di vita in guerra, al tenente Taiar, che non conosce nulla al di fuori della vita militare, e a un altro soldato con cui quest’ultimo non va d’accordo, Salomão. Storie d’amore e di guerra si snodano fra proiettili e risate mentre il treno avanza verso la prossima fermata.
Il film è il risultato di un adattamento dell'omonimo romanzo di Licinio Azevedo e racconta la storia d'amore di un'infermiera che si innamora di un militare durante un viaggio in treno durante la guerra civile del Mozambico. In un primo momento, l'obiettivo del progetto era quello di creare un documentario, un modo di rappresentare la storia delle donne mozambicane che, durante gli scontri tra l'esercito e la Renamo (Resistenza Nazionale del Mozambico), il principale partito di opposizione in Mozambico, hanno viaggiato circa 700 chilometri per raggiungere il vicino Malawi.
LICÍNIO DE AZEVEDO arrived in Mozambique in 1977 in order to work in the National Film Institute researching stories of the War of Independence, to serve as the basis for feature film scripts. The first piece of research he did for the Film Institute resulted in his first book Relatos de Povo Armado (Tales of the Armed People) which told real stories found in the field during three months in the Moeda Plains in the north of Mozambique; the first region to be liberated in the war. Later he began to make films using the same creative technique of mixing the narrative styles of factual and fictional storytelling. In his documentaries he uses the dramatic structure used for fiction. His fictions are always based on fact. The Train of Salt and Sugar is the result of the same creative process
Piazza Grande Locarno 2016
Johannesburg Film Festival:Best Film
New African Film Fest Washington
33rd Mons International Love Film Festival
The African Film Festival – FCAT in Tarifa (Spain) and Tangier (Marrocco)
The XIIth AfyKamera African Film Festival (Poland)
Movies That Matter Festival (Amsterdam, The Netherlands)
Las Plamas de Gran Canaria International Film Festival
9th Bengaluru International Film Festival
Fantasporto, Festival Internacional de Cinema do Porto, Portugal
Human Rights Arts and Film Festival (HRAFF) (in Melbourne, Australia)
12th annual Congo International Film Festival (CIFF) (Goma)
Africa Alive Festival Höchst
Festival International de Cinéma Vues d'Afrique Montréal