Showing posts with label Official Selection. Show all posts
Showing posts with label Official Selection. Show all posts

Thursday, October 26, 2023

ORAH is the Opening Film of the 12th Annual Africa International Film Festival in Nigeria


Announcing the Opening Film: ORAH Opens AFRIFF 2023🎥

AFRIFF to open 12th Edition with Lonzo Nzekwe’s Powerful Crime Thriller ORAH  in keeping with the Festival’s Theme on “Indigenous 2.0 Global



October 26, 2023

The Africa International Film Festival (AFRIFF) has announced its 12th edition, happening from the 5th to the 11th of 2023, in Lagos, Nigeria. In keeping with the festival's tradition, AFRIFF’s Founder and Festival Director, Chioma Ude, has announced the film ORAH as its opening night movie, a bold step to drive home its theme for the 2023 edition of Indigenous 2.0 Global before the participating Nigerian and international movie enthusiasts who will grace the festival’s annual opening gala night.

ORAH is written and directed by acclaimed Nigerian/Canadian filmmaker Lonzo Nzekwe (Anchor Baby). Produced by Nzekwe, Floyd Kane (Diggstown), and Amos Adetuyi (The Boathouse), the film was shot in Canada and the Federal Republic of Nigeria in late 2022. Speaking in anticipation of the Festival,  Chioma Ude said,

“Filmmaking is evolving rapidly in Africa, with Nigeria at the forefront of the renaissance, and this year’s edition is designed to continue to reiterate the opportunities for African films and storytelling to reflect ‘global’ perspectives for the sustained success of more local films globally. We intend to continue to empower our storytellers to explore ideologies and techniques that connect with a larger global audience. ORAH is positioned as the open-night movie to drive this expectation.” 

A character-driven crime thriller, Orah showcases the story of a female taxi driver in Toronto embarking on a revenge tour to avenge the death of her son, who is brutally murdered by a high-profile Nigerian criminal in a drug trafficking operation. Starring Oyin Oladejo as Orah Madukaku (Star Trek: Discovery), additional cast members include Lucky Onyekachi Ejim (Kim’s Convenience) as Bami Hazar; Agape Mngomezulu as Tariq Hazar (The Parker Andersons); Morgan Bedard (Hard Rock Medical) as Eli Pope; Somkele Iyamah-Idhalama (Titans) as Lace; Oris Erhuero (We Were Once) as Agent Garuba; O.C. Ukeje (Brotherhood) as Agent Uche Odi; Femi Lawson (Because We Are) as Jimoh Sholola; and Christopher Seivright (Take Note) as Vincent Bailey.

Developed over the course of 11 years, director and screenwriter Lonzo Nzekwe was “very grateful to finally begin shooting with the talented cast and crew assembled and honoured to be able to shoot part of the film in Nigeria, which plays such a key role,” he shared during principal photography. In Nzekwe’s words, I set out to create a tragically gripping and gratifying crime thriller with a gritty look that gives the audience a visceral, authentic experience of the life of our hero and her journey to avenge the death of her son. The exceptional talent of the actors cast in each role truly brings the story to life.

Not only does the script offer a strong and smart female role model in the lead role, but the supporting characters are well-rounded with traits of real, everyday people drawn from diverse ethnic backgrounds and walks of life. I hope that ORAH’s themes of justice versus revenge, redemption, freedom, corruption, and family separation will have a lasting impact on its viewers and inspire them in a positive way. As a Nigerian-born Canadian filmmaker, I felt I was uniquely qualified to tell this story of an illegal immigrant who was smuggled into Canada and sold into sex trafficking at age 15 by her uncle.

The film was shot in and around Sudbury, Ontario, in the fall of 2022, with additional principal photography taking place in Lagos, Nigeria, in December 2022. With cinematography for ORAH by Ricardo Diaz (Subjects of Desire), production design by Mark Kowalsky (Frat Pack), costume design by Chantel Bedward (Stupid For You), editing by Marc Roussel (Guillermo del Toro’s Cabinet of Curiosities), and music by Felipe Téllez (Tomorrow).

ORAH is produced by Circle Blue Entertainment and Freddie Films in association with IronFlix Inc., with the participation of Telefilm Canada, the Northern Ontario Heritage Fund Corporation (NOHFC), and ONCreates Film Fund. Level Film is the Canadian distributor.

Signed

Latasha Ngwube

Director PR & Media

for AFRIFF 2023

ABOUT AFRIFF

The Africa International Film Festival (AFRIFF) is an international film showcase in Nigeria’s biggest city, Lagos. It presents a complete immersion into the world of filmmaking with participation from all over Africa and the Diaspora. Founded in 2010 by Ms Chioma Ude, an ardent film lover and entrepreneur, the festival is positioned to be the biggest annual appointment for African filmmakers in the region, celebrating the best African films and stories.

Our programming is themed around African films, filmmakers and African cinematic impulses making the rounds in the international film circuit in categories such as feature, shorts, student shorts, documentary and animation.


Friday, April 14, 2023

2023 Cannes Film Festival: Official Selection


The 76th edition of the festival will run May 16-27.

Official Selection 2023

Competition

Opening Film
  • Jeanne du Barry, Maiwenn
  • A Brighter TomorrowNanni Moretti
  • About Dry Grasses, Nuri Bilge Ceylan
  • Anatomy Of A Fall, Justine Triet
  • Asteroid City, Wes Anderson
  • Banel Et Adama, Ramata-Toulaye Sy
  • Club Zero, Jessica Hausner
  • Fallen Leaves, Aki Kaurismaki
  • Firebrand, Karim Aïnouz
  • Four Daughters, Kaouther Ben Hania
  • Jeunesse, Wang Bing
  • Kidnapped, Marco Bellocchio
  • La Chimera, Alice Rohrwacher
  • La Passion De Dodin Bouffant, Tran Anh Hung
  • Last Summer, Catherine Breillat
  • May December, Todd Haynes
  • Monster, Hirokazu Kore-eda
  • The Old Oak, Ken Loach
  • Perfect Days, Wim Wenders
  • The Zone Of Interest, Jonathan Glazer

Out Of Competition

  • Cobweb, Kim Jee-Woon
  • The Idol, Sam Levinson
  • Indiana Jones And The Dial Of Destiny, James Mangold
  • Jeanne du Barry, Maiwenn (opening film)
  • Killers Of The Flower Moon, Martin Scorsese

Midnight Screenings

  • Acide, Just Philippot
  • Kennedy, Anurag Kashyap
  • Omar La Fraise, Elias Belkeddar

Cannes Premiere

  • Bonnard, Pierre And Marthe, Martin Provost
  • Cerrar Los Ojos (Fermer Les Yeux), Victor Erice
  • Kubi, Takeshi Kitano
  • Le Temps D’aimer, Katell Quillévéré

Special Screenings

  • Le Bruit Du Temps, Anselm Kiefer, Wim Wenders
  • Man In Black, Wang Bing
  • Occupied City, Steve McQueen
  • Pictures Of Ghosts, Kleber Mendonça Filho

Un Certain Regard

  • The Breaking Ice, Anthony Chen
  • The Buriti Flower, João Salaviza, Renée Nader Messora
  • The Delinquents, Rodrigo Moreno
  • Goodbye Julia, Mohamed Kordofani
  • Hopeless, Kim Chang-hoon
  • How To Have Sex, Molly Manning Walker
  • If Only I Could Hibernate, Zoljargal Purevdash
  • Le Regne Animal, Thomas Cailley (UCR opening film)
  • Les Meutes, Kamal Lazraq
  • The Mother Of All Lies, Asmae El Moudir
  • The New Boy, Warwick Thornton
  • Omen, Baloji Tshiani
  • Rien À Perdre, Delphine Deloget
  • Rosalie, Stephanie di Giusto
  • The Settlers, Felipe Gálvez
  • Simple Comme Sylvain, Monia Chokri
  • Terrestrial Verses, Ali Asgari, Alireza Khatami

Saturday, May 28, 2022

"Triangle of Sadness" Wins the Palme d'Or of 75th Annual Cannes Film Festival

The 75th annual Cannes Film Festival of France ended Saturday night with all the glitz and razzmatazz of the most prestigious international film festival in the world.

Swedish filmmaker Ruben Östlund  won the coveted Palme d'Or at the 75th annual Cannes Film for his  satirical drama, "Triangle of Sadness".

Östlund won the Palme d'Or at Cannes in 2017 with "The Square".

List of All the Winners

Palme d’Or: “Triangle of Sadness” by Ruben Östlund

Grand Prix: “Close” by Lukas Dhont and “Stars at Noon” by Claire Denis

Special Prize for Cannes’ 75th anniversary: Jean-Pierre and Luc Dardennes, “Tori and Lokita”

Jury Prize: “Eo” and “Le Otto Montagne”

Best Actress: Zar Amir Ebrahimi, “Holy Spider”

Best Actor: Song Kang Ho, “Broker”

Best Director: Park Chan-wook, “Decision to Leave”

Best Screenplay: “Boy from Heaven”

Camera d’Or: “War Pony,” directed by Gina Gammell and Riley Keough

Short Film Palme d’Or: “The Water Murmurs”



Wednesday, May 25, 2022

The Best Films from Africa and its Diasporas Come to the 19th Edition of the Tarifa African Film Festival

The Best Films from Africa and its Diasporas Come to the 19th Edition of the Tarifa African Film Festival

This event will be held from 27 May to 3 June in the Andalusian town of Tarifa, a cross-border town between Morocco and Spain.

The opening film is the Nigerien film Walking on Water, the closing film is the Somali film The Gravedigger's Wife.

Tarifa, May 2022. The Tarifa African Film Festival celebrates its 19th edition with an official session made up of films from Tunisia, Sao Tome and Principe, Ethiopia, Egypt, Benin, Reunion, Rwanda, Central African Republic, Democratic Republic of Congo, Senegal, French Guiana, Nigeria, Guinea Bissau, Madagascar and Angola, as well as two major retrospectives, one dedicated to the links between cinema and literature and the other focusing on the Egyptian filmmaker Atteyat Al Abnoudy.

The two great retrospectives of the Tarifa African Film Festival

The big bet of this edition will be Entre la tinta y la pantalla, a parallel section that delves into the relationship between literature and cinema, through sixteen titles produced from the 1960s to the present day that cover countries such as Senegal, Mozambique, South Africa, Mauritania, Burkina Faso, Algeria, Angola, Morocco and Afro-Cuban descent. Among the filmmakers present in this section, some historical ones stand out, such as Ousmane Sembène (Senegal), Med Hondo (Mauritania) or Djibril Diop Mambéty (Senegal); as well as other contemporary ones, such as Dani Kouyaté (Burkina Faso) or Mariano Bartolomeu (Angola), among others. As for literary authors, we find classics such as Naguib Mahfuz (Egypt), an emblematic figure of the new Arab novel, Abdoulaye Mamani (Níger), Moussa Diagana (Mauritania), Assia Djebar (Algeria, literary pseudonym of Fatema Zohra), Malek Alloula (Algeria) and Mia Couto (Mozambique), one of today's most important authors. 

The FCAT dedicates a major retrospective to the Egyptian filmmaker Atteyat Al Abnoudy (1939-2018), considered the "mother of the Egyptian documentary" and one of the pioneering directors in the Arab world. Nicknamed "filmmaker of the poor", her decision to film people in a daily life of hard work and precariousness was a scandal at a time when film was perceived as a propaganda weapon by the authorities. 

FCAT official sessions: 20 titles from 18 African countries

The African presence at the major international festivals provided a great harvest of films from the continent. The official feature film section of the FCAT, called Hypermetropia, offers films from Rwanda, Tunisia, Egypt, Haiti, Mali, Benin, Reunion, Ethiopia, Central African Republic, Democratic Republic of Congo and, for the first time, a film from Sao Tome. 

The ten titles in Hypermetropia are among the most daring on a formal level and imbued with great visual poetry. Most of them are works by young filmmakers, films that dialogue with each other on the issues of exile, from the dream of an idealised place (Faya Dayi, by Jessica Beshir, Ethiopia) to the uprooting, the violence of the host country (Lèv la tèt dann fenwar, by Erika Étangsalé, La Réunion). Another theme is the struggle for dignity (Xaraasi Xanne, by Malians Bouba Touré and Raphaël Grisey). 

Films that propose a representation of women far from clichés (Black Medusa, by Ismaël and Youssouf Chebbi, Tunisia), of their emancipation and empowerment (Feathers, by Omar El Zohairy, Egypt) and (Freda, by Gessica Géneus, a film from Haiti and Benin), but also highlighting the necessary liberation of men from their own mental shackles (Une histoire d'amour et désir, by Tunisian Leyla Bouzid).

Films that revisit the traumas and forgotten episodes of history (the documentary Constelaçoes do Equador, by Silas Tiny, the first film from Sao Tome and Principe in the FCAT); a portrait of the concerns and aspirations of youth (Nous, étudiants! by Rafiki Fariala, from the Central African Republic); or the screening of an Afrofuturist, anti-colonialist, anti-capitalist and queer vision of the continent (Neptune Frost, by Rwandans Saul Williams and Anisia Uzeyman). 

África en breve, the competitive short film section continues to be an incubator of talent on the African continent, with titles dealing with colonial violence (Écoutez le battement de nos images, by Audrey & Maxime Jean-Baptiste, French Guiana), colonial representation (Kapita, by Petna Ndaliko, Democratic Republic of Congo) and resistance to colonial domination (Mangrove School, by Filipa César & Sónia Vaz Borges, Guinea Bissau, Portugal).

Also, the violence of war (Vou Mudar a Cozinha, by Ondjaki, Angola), gender violence (Imuhira, by Myriam Uwiragiye, Rwanda) and (Microbus, by Maggie Kamal, Egypt); the emotional violence of leaving childhood (Astel, by Ramata-Toulaye, Senegal) and the violence of exile and uprooting (Egúngún, by Olive Nwosu, Nigeria). Comedy is also present in this selection, through the meta-cinema in an international premiere (The Unusual Kinky Quaint Peculiar Weird Strange Rum Queer Odd and Bizarre Day of a Shadow Man, by Hary Joel, French Guiana) or magical realism (Precious Hair & Beauty, by John Ogunmuyiwa).

Additionally, outside the official competition is La tercera raíz, a section dedicated to Afro-descendants. The 19th edition of the festival will be dominated by films from the Dominican Republic, where the cultural legacy of Africa is present in all areas of people’s life. 

The opening and closing film of the 19th edition of the festival 

The opening film of this year's festival, the documentary Marcher sur l'eau (Aïssa Maïga, 2021), a co-production between Niger and France, is set in the village of Tatiste in Niger, where Houlaye, a 14-year-old teenager, and other children travel kilometres to fetch the water the village needs to survive. The closing film, The gravedigger's wife (Khadar Ayderus Ahmed, 2021), a Somali film presented at the Cannes Critics' Week, will be screened on Friday, 3 June, after the prize-giving ceremony of the 19th FCAT. A tender portrait of an African couple facing a health problem. 

The poster, the work of the Italian-Senegalese artist Maïmouna Guerresi 

This year's poster was created by Maïmouna Guerresi, an Italian-Senegalese multimedia artist whose work is steeped in Sufi spirituality. The work, which belongs to her series Aïsha in Wonderland, brings a feminine energy to this powerful image that alludes to "cultural and spiritual crossbreeding".

Industry and training at FCAT

The FCAT LAB post-production workshop, which offers support for featured films from Africa in the form of prizes, will once again be active at this year's edition. The FCAT LAB 2022 will take place in online format as part of the actions programmed in the Tree of Words, the space dedicated to the professional and training activities of the African Film Festival-FCAT. 

For its part, the Instituto de la Cinematografía y de las Artes Audiovisuales (ICAA) will organise a showcase in Tarifa, where five Spanish companies representing post-production services will present themselves to African producers and directors both in person and via streaming. 

The Aula de cine will also take place, under the title Relatos ensoñados. El arte narrativo en los cines africanos, an in-depth course on the evolution and characteristics of African cinema, given by the programmer and film critic Javier H. Estrada (Spain). All the filmmakers that will be analysed in the Aula share an iconoclastic spirit, authentic aesthetic renovators who also observed the realities of their countries with a profoundly critical eye. During four sessions, cinematographies such as those of Mali, Egypt, Tunisia and Angola will be addressed, highlighting their past and present relevance.

The Festival de Cine Africano-FCAT is the most important film festival of the continent and of African descent in the Spanish-speaking world and has a film collection of more than a thousand titles translated into Spanish.

DOWNLOAD IMAGES 

For more information you can contact the communication office: 

Marta Jiménez: gabineteprensa@fcat.es

Valeria Reyes: comunicacion3@fcat.es


                             



Friday, May 6, 2022

Nollywood : Between The Palme d'Or and Netflix d'Or

Nollywood : Between The Palme d'Or and Netflix d'Or

Well, if #Nollywood movies cannot qualify for the Official Selection for the competition for the Palme d'Or at the annual Cannes Film Festival in France, they have qualified for the Originals Selection of the #Netflix on the world wide web.

It would be great to have an annual Netflix Awards where Nigerian movies can make the Official Selection for competition for a Netflix d'Or.

If after more than 20 -30 years of making movies and your greatest achievement is having your movies on Netflix while your fellow filmmakers in other African countries are competing with the best filmmakers in the world in the Official Selection of the 75th annual Cannes Film Festival coming up from May 17 - May 28, 2022, is still better, because you to have something to cheer about than have nothing to brag about.

Cheers!

- By EKENYERENGOZI Michael Chima,
The Publisher/Editor,
NOLLYWOOD MIRROR® Series,
The first book series on Nollywood and the Nigerian film industry since 2013.




Thursday, November 4, 2021

Over 1, 426 Nigerian Movies Produced in 2021 and None Selected for the 94th Annual Academy Awards

Over 1, 426 Nigerian Movies Produced in 2021 and None Selected for the 94th Annual Academy Awards

The Nigerian Official Selection Committee (NOSC) for the Academy of Motion Pictures, Arts and Sciences (AMPAS) said entries submitted by Nigerian filmmakers did not meet the eligibility rules.
 "After a series of deliberations by the Committee members, we regret to announce that there won’t be submission of film to represent the country for the 94th Academy Awards. This is due to the fact that the films received so far for screening failed the eligibility rule test set by the Academy,” said the NOSC.

Once again, Nigerian filmmakers have disappointed Nigeria. From disqualification for failing to meet the eligibility criteria in 2019 to failing to make the short list for the nominations in 2020; Nigerian filmmakers continue lagging behind other African countries in competition for the most coveted awards for the best films in the world with Somalia and six other African countries on the final list of the official submissions for the Best International Feature Film of the 94th annual Academy Awards.
The following is the official final list.

ALBANIA – Two Lions Heading to Venice / Dy Luanë drejt Venecias (Jonid Jorgji)

ALGERIA – Héliopolis / (هليوبوليس) / (Haliyūbūlīs) (Djafar Gacem)

ARGENTINA – The Intruder / El Prófugo (Natalia Meta)

ARMENIA – Should the Wind Drop / Երբ որ քամին հանդարտվի / Si le vent tombe (Nora Martirosyan)

AUSTRALIA – When Pomegranates Howl (Granaz Moussavi)

AUSTRIA – Great Freedom / Große Freiheit (Sebastian Meise)

BANGLADESH – Rehana / রেহানা মরিয়ম নূর / Rehana Maryam Noor (Abdullah Mohammad Saad)

BELGIUM – Playground / Un monde (Laura Wandel)

BOLIVIA – The Great Movement / El Gran Movimiento (Kiro Russo)

BOSNIA AND HERZEGOVINA – The White Fortress / Tabija (Igor Drljaca)

BRAZIL – Private Desert / Deserto Particular (Aly Muritiba)

BULGARIA – Fear / Страх (Milko Lazarov)

CAMBODIA – White Building / ប៊ូឌីញ ស (Ivaylo Hristov)

CANADA – Drunken Birds / Les oiseaux ivres (Ivan Grbovic)

CHILE – White on White / Blanco en blanco (Theo Court)

COLOMBIA – Memoria (Apichatpong Weerasethakul)

COSTA RICA – Clara Sola (Nathalie Álvarez Mesén)

CROATIA – Tereza37 (Danilo Šerbedžija)

CZECH REPUBLIC – Zátopek (David Ondříček)

DENMARK – Flee / Flugt (Jonas Poher Rasmussen)

ECUADOR – Sumergible (Alfredo León León)

EGYPT – Souad / سعاد (Ayten Amin)

ESTONIA – On the Water / Vee peal (Peeter Simm)

FINLAND – Compartment No. 6 / Hytti nro 6 (Juho Kuosmanen)

FRANCE – Titane (Julia Ducournau)

GEORGIA – Brighton 4th / მეოთხე ბრაიტონი (Levan Koguashvili)

GERMANY – I’m Your Man / Ich bin dein Mensch (Maria Schrader)

GREECE – Digger (Georgis Grigorakis)

HONG KONG – Zero to Hero / 媽媽的神奇小子 (Jimmy Wan)

HUNGARY – Post Mortem (Péter Bergendy)

ICELAND – Lamb / Dýrið (Valdimar Jóhannsson)

INDIA – Pebbles / கூழாங்கல் / Koozhangal (P.S. Vinothraj)

INDONESIA – Yuni (Kamila Andini)

IRAN – A Hero / قهرمان (Asghar Farhadi)

IRELAND – Foscadh (Seán Breathnach)

ISRAEL – Let It Be Morning / ויהי בוקר, ليكن صباحا (Eran Kolirin)

ITALY – The Hand of God / È stata la mano di Dio (Paolo Sorrentino)

JAPAN – Drive My Car /ドライブ・マイ・カー / Doraibu mai kā (Ryusuke Hamaguchi)

KENYA – Mission to Rescue (Gilbert Lukalia)

KOSOVO – Hive / Zgjoi (Blerta Basholli)

KYRGYZSTAN – Shambala / Шамбала (Artykpai Suyundukov)

LATVIA – The Pit / Bedre (Dace Pūce)

LEBANON – Costa Brava, Lebanon / كوستابرافا (Mounia Akl)

LITHUANIA – The Jump / Šuolis (Giedrė Žickytė)

LUXEMBOURG – Io sto bene (Donato Rotunno)

MALAWI – Fatsani: A Tale of Survival (Gift Sukez Sukali)

MALAYSIA – Hail, Driver! / Prebet Sapu (Muzzamer Rahman)

MALTA – Luzzu (Alex Camilleri)

MEXICO – Prayers for the Stolen / Noche de fuego (Tatiana Huezo)

MONTENEGRO – After the Winter / Poslije zime (Ivan Bakrač)

MOROCCO – Casablanca Beats / علّي صوتك (Nabil Ayouch)

NETHERLANDS – Do Not Hesitate (Shariff Korver)

NORTH MACEDONIA – Sisterhood / Сестри (Sestri) (Dina Duma)

NORWAY – The Worst Person in the World / Verdens verste menneske (Joachim Trier)

PALESTINE – The Stranger / الغريب / Al Garib (Ameer Fakher Eldin)

PANAMA – Plaza Catedral (Abner Benaim)

PERU – Powerful Chief / Manco Cápac (Henry Vallejo)

POLAND – Leave No Traces / Żeby nie było śladów (Jan P. Matuszyński)

PORTUGAL – The Metamorphisis of Birds / A Metamorfose dos Pássaros (Catarina Vasconcelos)

ROMANIA – Bad Luck Banging or Loony Porn / Babardeală cu bucluc sau porno balamuc (Radu Jude)

RUSSIA – Unclenching the Fists / Разжимая кулаки / Razzhimaya kulaki (Kira Kovalenko)

SERBIA – Oasis / Оаза (Ivan Ikić)

SINGAPORE – Precious Is The Night / 今宵多珍重 (Wayne Peng)

SLOVAKIA – 107 Mothers / Cenzorka (Péter Kerekes)

SLOVENIA – Sanremo (Miroslav Mandić)

SOMALIA – The Gravedigger’s Wife (Khadar Ayderus Ahmed)

SOUTH KOREA – Escape from Mogadishu / 모가디슈 / Mogadisyu (Ryoo Seung-wan)

SPAIN – The Good Boss / El buen patrón (Fernando León de Aranoa)

SWEDEN – Tigers / Tigrar (Ronnie Sandahl)

SWITZERLAND – Olga (Elie Grappe)

TAIWAN – The Falls / 瀑布 (Chung Mong-hong)

THAILAND – The Medium / ร่างทรง / Rang Song (Banjong Pisanthanakun)

TUNISIA – Golden Butterfly / فرططو الذهب / Papillon d’Or (Abdelhamid Bouchnak)

TURKEY – Commitment Hasan / Bağlılık Hasan (Semih Kaplanoğlu)

UKRAINE – Bad Roads / Погані дороги / Plokhiye dorogi (Nataliia Vorozhbyt)

URUGUAY – The Broken Glass Theory / La teoría de los vidrios rotos (Diego Fernández)

VENEZUELA – The Inner Glow / Un destello interior (Andrés Eduardo Rodríguez, Luis Alejandro Rodríguez)

The most likely Nigerian film that would have been eligible is the historical epic, "Amina" by Izu Ojukwu, but it is in English and not in the Hausa language of the original story.
The fact that the great opportunity to produce "Queen Amina" in the Hausa language was missed by the producers is a big disappointment, because the film directed by Izu Ojukwu would have fulfilled the criteria for the eligibility and most likely make the short list of the nominations for the Best International Feature Film category. But the producers were more interested in fulfilling the eligibility for Netflix than the eligibility for the Academy Awards.
Having a movie on Netflix is now the most coveted thing for majority of Nigerian filmmakers and not the qualifications for the Academy Awards, Cannes Film Festival, Venice Film Festival, Toronto International Film Festival and Berlin Film Festival.
They celebrate making it to Netflix like winning a million dollar lottery.
But Netflix pays more for the movies of South African, American, European, Asian and Arabian filmmakers than Nigerian filmmakers, because they know that there is a surplus of Nigerian movies selling cheap with their lower budgets and lower standards of filmmaking.

The producers of "Amina" were grinning excitedly like children who have been given Christmas presents in November before the Christmas day comes up in December while their fellow African filmmakers were competing and winning highly esteemed awards at the 27th biennial FESPACO in Ouagadougou, Burkina Faso and fulfilling the eligibility criteria for the Best International Feature Film category of the 94th annual Academy Awards.

I congratulated the producers of "Amina", to commend their efforts, but majority of the critics said the film on the legendary Warrior,  Queen Amina of Zazzau in northern Nigeria should have been in Hausa language and subtitled in English. Yes. And that means the real historical film on Queen Amina has not been done.
I prefer that the film should feature the best actors in Kannywood, the Hausa language sector of the Nigerian film industry. And it should be a national film project of the Nigerian Film Corporation (NFC) which is part of the statutory functions and should be in the priorities of the Steering Committee for the Reform and Commercialisation of the Corporation.

The 94th annual Academy Awards of the Academy of Motion Picture Arts and Sciences (AMPAS), will honor the best films released since March 1, 2021, and is scheduled to take place at the Dolby Theatre in Hollywood, Los Angeles, California on March 27, 2022.


- By EKENYERENGOZI Michael Chima,
Publisher/Editor,
NOLLYWOOD MIRROR®Series 
247 Nigeria (@247nigeria) / Twitter https://mobile.twitter.com/247nigeria



Friday, October 29, 2021

AFRIFF Announces Seasoned Entertainment Executive as Creative Director for its 10th Anniversary Edition


AFRIFF Announces Seasoned Entertainment Executive as Creative Director for its 10th Anniversary Edition
 

AFRIFF Announces Seasoned Entertainment Executive as Creative Director for its 10th Anniversary Edition

Lagos, Nigeria –    29/10/2021

Africa International Film Festival (AFRIFF) today announced seasoned global entertainment executive, Jenny Alonzo, as Creative Director for its 10th anniversary edition

The move comes as AFRIFF continues to solidify itself as Africa’s most innovative film festival, celebrating African content, film making and a unique platform for the many stories Africa has to share with the world. AFRIFF is focused on building the necessary bridge with the rest of the world.

Jenny Alonzo is a recognized leader in content, marketing, and the multicultural markets across all platforms—film, television, digital— and is an advisor to C-Level executives on the ‘super consumers,’ a segment often referred to as multicultural. She has worked on some of the strongest brands in international media, including NBC, The Wall Street Journal, and NUVOtv/FUSE, where she spearheaded the go-to-market strategy for the network’s partnership with global icon Jennifer Lopez.  Most notably, Alonzo was a member of the executive team that launched Lifetime Television and its ground-breaking market positioning of Television for Women.

Alonzo has been an advocate for diverse storytelling and representation throughout her career. She was a two-term member of the Federal Communication Commission’s (FCC) inaugural Advisory Committee on Diversity for Communications in the Digital Age, served on Nielsen’s Advisory Council, Volvo/Jaguar/LandRover’s Advisory Council, is currently on the Board of Governors for St. John’s University, and is Chair of the Board for circlearound.com. 

Jenny Alonzo has been featured as a Broadcasting & Cable Fifth Estater, in The New York Times, Diversity Inc., Black Enterprise, and El Diario/LaPrensa. She has moderated and participated on highly visible panels at major conferences, including NCTA, CTAM, PROMAX, Black Enterprise’s Women of Power Summit, Congressional Caucuses, corporate events, and film festivals.

I’m both humbled and excited to be working with Chioma Ude on AFRIFF. This festival is a hidden gem. AFRIFF has been a champion for African filmmakers and Chioma’s mission to amplify and elevate the stories about Africa, Africans, and its Diaspora is right in line with what my brand represents—telling and amplifying stories about women and diverse markets that continue to lead global growth. I am proud to be working with someone who demonstrates a commitment to paying-it-forward and to opening doors for those with limited access, which is still a huge problem in filmmaking and entertainment. 

Alonzo, continued, “Africa is truly the richest continent in the world and yet the stories we see paint a different picture. AFRIFF is doing everything it can to change that by providing a platform for filmmakers to showcase their work and for buyers to experience authentically rich stories they can bring to the world. Chioma is on a mission to ensure AFRIFF becomes the “must attend” film festival of Africa. I’m honoured to join her on this mission,” stated Alonzo. 

AFRIFF takes pride in celebrating some of the best films in Africa in the Feature, Documentary and Short category through careful selection by its Creative Director and International Jury. This year, about 4,000 films have been submitted in all the categories and the selection process for films that will screen at the festival is currently on going. REGISTER FOR AFRIFF.

ABOUT AFRIFF

The Africa International Film Festival (AFRIFF) conceived by Ms Chioma Ude is a world class showcase that presents a complete immersion into the world of film making with participation from local and international, actors, directors, scriptwriters, cinematographers, sound engineers, musicians, editors, light engineers, students, equipment manufacturers and businesspeople. 

The objectives are to develop the film industry to a level where the products compete favourably with their contemporaries all over world; provide a growth opportunity for these film industry professionals to eventually export their products to the world; facilitate access to investors, equipment, technical and skill acquisition through several capacity development workshops; complement government’s efforts at revamping small and medium scale enterprises (SMEs).


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Thursday, October 7, 2021

AFRIFF Announces the Programme for the 10th Anniversary


AFRIFF Announces the Programme for the 10th Anniversary Edition


Press parley of the 10th anniversary edition of the annual Africa International Film Festival (AFRIFF) held on Thursday October 7, 2021 at Terra Kulture on Victoria Island, Lagos. The most dynamic and vibrant International film festival in Africa begins from November 7-13 at the Landmark Centre on Victoria Island, Lagos.

Jenny Alonzo, the Creative Director for the 10th Anniversary Edition of Africa International Film Festival (AFRIFF) spoke at the event via a video message.

The Founder and Executive Director of AFRIFF, Chioma Ude introduced the members of the Organising Committee and announced the programme of events, including the opening film ,"Encounter" by Michael Pearce. The sci-fi mystery thriller is about " a decorated Marine who goes on a rescue mission to save his two young sons from a mysterious threat. As their journey takes them in increasingly dangerous directions, the boys will need to leave their childhoods behind." View the official trailer on 

https://youtu.be/mJzNtZlxaJk

The closing film is "Collision" by Bolanle Austen-Peters.

She also announced that AFRIFF has selected 1000 Nigerians to be trained on Animation and Gaming at the AFRIFF Academy with 15 of the best projects in animation to be sponsored by Disney for film productions.





Landmark Centre,
Plot 2-3 Water Corporation Road, Victoria Island, Lagos.



Friday, September 10, 2021

VIFF Announces 40th Edition Festival Lineup

The poster of the Opening Film 

VIFF40Years_logo_Bl
FOR IMMEDIATE RELEASE

 

VIFF ANNOUNCES 40TH EDITION FESTIVAL LINEUP,
A RETURN TO IN-CINEMA PRESENTATIONS
AND EXPANDED VIFF CONNECT ACCESS

 

40th Vancouver International Film Festival

October 1 – 11, 2021

 
VANCOUVER, BC (SEPTEMBER 8, 2021) Vancouver International Film Festival (VIFF) celebrates its 40th edition with a vibrant festival program that includes more than 110 feature films, 77 shorts, and 20 events. All films will be presented in-cinema, in strict compliance with provincial COVID-19 health and safety protocols, and select titles will be available for streaming across the province and Canada-wide on the festival’s online streaming platform, VIFF Connect. 

VIFF’s 2021 lineup showcases a kaleidoscopic collection of revelatory work, from provocative documentaries to elevated genre films. VIFF Talks take viewers behind the camera, and Totally Indie Day, VIFF AMP, and VIFF Immersed conferences support the local creative communities. VIFF’s 40th edition will officially open with an in-cinema screening of the inventive biopic The Electrical Life of Louis Wain, from U.K. director Will Sharpe, starring Benedict Cumberbatch who gives a bravura performance as the Victorian illustrator who found lasting fame with his knack for drawing cute cats. The festival will mark its closing with an in-cinema screening of Petite Maman, the latest from French director Céline Sciamma. A simple, subtle fairy tale about the mysterious bond between mother and daughter, the poetic film is realized with supreme delicacy and tact. 

"Perhaps more than any other art form, film has helped us through these past 18 months," says Kyle Fostner, Executive Director. "Isolated in our homes, we turned to movies for a connection to a larger world, full of perspectives, ideas, and culture. Our milestone 40th edition will be a celebration of cinema that shares the singular joy of experiencing incredible storytelling safely together, basking in the warm glow of the big screen. At the same time, we’ll continue to offer the opportunity and accessibility gained with last year’s model — with 85 per cent of our festival's vast and varied offerings available online via VIFF Connect. And for the first time, a large selection of films will also be available online across Canada."

VIFF Board Chair Lucille Pacey adds: "VIFF has always been a festival rooted in community and cinematic excellence. We mark this special edition by reconnecting with those who have supported us through the past four decades and with those who are only just discovering all that VIFF has to offer. VIFF's remarkable team has programmed an extraordinary lineup that highlights the voices of today and looks to the future of filmmaking."

“For our 40th edition, our programmers have curated a diverse selection of international cinema that includes work from dozens of countries and countless communities here in Canada,” says Curtis Woloschuk, Associate Director of Programming. “It’s a lineup that truly offers a plurality of perspectives. Many of this year’s selections are born of this era, as they share stories of reconnections with family and community, and employ structures that bend time. There are powerful narratives from Indigenous filmmakers, poignant stories from female perspectives, and bold work that confronts critical issues such as colonialism, racism, and the climate crisis. Likewise, there are films that testify to the transportative power of creativity and remind us that, even when it’s darkest, we can dream.”

Tickets are now on sale at viff.org. Single tickets are $15 for in-cinema presentations, $17 for in-cinema Special Presentations, and $10 for VIFF Connect. All-access VIFF Connect passes are $80, and will provide access to a selection of film titles and VIFF Talks streamed online. The Limited Edition Festival Pass is $725, and will provide access to all in-cinema and online screenings. While a selection of the film programming via VIFF Connect will remain geo-blocked to the province, a vast majority of films will be available across Canada. VIFF Talks, VIFF AMP, Totally Indie Day, and VIFF Immersed will be livestreamed Canada-wide and internationally, providing an unprecedented level of access to filmmakers and fans around the globe. 

 
Tickets and Information
 
VIFF Connect Single Tickets for Films and Talks: $10
VIFF Connect Festival Pass: $80 Regular / $110 Household
VIFF In-Cinema Single Tickets for Films and Talks: $15
VIFF In-Cinema Special Presentations: $17
VIFF Limited Edition Festival Pass: $725
40th Anniversary 4-Ticket Pack: $48 Regular / $32 Student / $44 Senior
VIFF AMP Pass In-person: $75 Regular / $25 Student
VIFF AMP Pass Online: $25 Regular / $15 Student
Totally Indie Day In-person: $45 Regular / $25 Student
Totally Indie Day Online: $25 Regular / $15 Student
VIFF Immersed: Free
 
Single tickets and passes available at viff.org.
 
To explore VIFF’s complete 2021 programming, visit viff.org.
 
VIFF’s health and safety protocols — in strict compliance with provincial health orders — can be viewed HERE.

With the generous support of these partners:

 

PressRelease_LogoStrip_18Aug

 

Founded in 1982, the Greater Vancouver International Film Festival Society is a not-for-profit cultural society and federally registered charitable organization that operates the internationally acclaimed Vancouver International Film Festival (VIFF) and the year-round programming at the VIFF Centre. VIFF produces screenings, talks, conferences, and events that act as a catalyst for the community to discover the creativity and craft of storytelling on screen. For its 40th edition, VIFF takes place both online and in-cinema, from Oct. 1–11, 2021, showcasing the top international, Canadian, and BC films along with creators and industry professionals from around the globe.

VIFF is presented on the traditional and unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaʔɬ/Selilwitulh (Tsleil‑Waututh) Nations.

Media inquiries:
press@viff.org
Laura Murray | 
lmurray@mpmgarts.com | 604.418.2998
Ines Min | imin@mpmgarts.com | 604.440.0791
 

MPMG_logo-wordmark_blackblue_sm





Thursday, August 26, 2021

VIFF Announces 2021 Festival Lineup

FOR IMMEDIATE RELEASE

MEDIA ADVISORY:

VIFF ANNOUNCES 2021 FESTIVAL LINEUP

Vancouver International Film Festival Celebrates 40th Edition

October 1 – 11, 2021

VANCOUVER, B.C. (AUGUST 26, 2021) Vancouver International Film Festival (VIFF) invites you to the official unveiling of the 40th edition’s programming and events on Wednesday, September 8, 2021. Roughly 110 feature films and 80 shorts will screen in Vancouver venues, with a selection of films also available online via the VIFF Connect streaming platform.

WHAT: Media are invited to attend either an in-person presentation of VIFF’s 2021 festival lineup and events or receive VIFF’s digital press kit, including the festival announcement and sizzle reel.

In-person: Following the unveiling of the 40th festival and event lineup, media are invited to stay for a special pre-festival screening of Albert Dupontel’s award-winning Bye Bye Morons, an official selection at VIFF 2021, alongside an audience of VIFF VIPs. 

Due to B.C. health and safety regulations, capacity restrictions are in effect for the in-cinema film screening. Please RSVP to Laura Murray at lmurray@mpmgarts.com by August 31 to book your seat.

WHERE

In-person: At the VIFF Centre located at 1181 Seymour St, Vancouver. There is street parking as well as an Impark lot off of Granville Street.

Online: On September 8 at 10am, media will be emailed the season announcement and a link to access VIFF’s 2021 press kit and sizzle reel. 

WHEN: Wednesday, September 8 at 10am.

Doors open: 9am, complimentary refreshments will be served.

Presentation and festival launch: 10am

Film screening: 10:30am to 12pm

Interviews in the VIFF Centre Atrium: 10:30am (for those media unable to watch the film)

Interviews in the VIFF Centre Atrium: 12pm (for those media who are able to watch the film)

WHO: Interviews will be available immediately following the festival launch at 10:30am and following the film screening at 12pm — in-person and by phone — with: 

Kyle Fostner, Executive Director

Curtis Woloschuk, Associate Director of Programming

PoChu AuYeung, Program Manager and Senior Programmer

Melanie Lemaire, Program Logistics Manager

Kinga Binkowska, Create Engagement Producer

Frances Bergin, Creative Engagement Curator

Tammy Bannister, Programmer & MODES Curator

To schedule an interview in advance, please email press@viff.org.

VIFF’s health and safety protocols — in strict compliance with provincial health orders — can be viewed HERE

With the generous support of these partners:

PressRelease_LogoStrip_18Aug


About VIFF | viff.org
Founded in 1982, the Greater Vancouver International Film Festival Society is a not-for-profit cultural society and federally registered charitable organization that operates the internationally acclaimed Vancouver International Film Festival (VIFF) and the year-round programming at the VIFF Centre. VIFF produces screenings, talks, conferences and events that act as a catalyst for the community to discover the creativity and craft of storytelling on screen. For its 40th edition, VIFF takes place both online and in-theatre, from October 1 – 11, 2021, showcasing the top international, Canadian and BC films along with creators and industry professionals from around the globe.

- 30 -

Media inquiries:
press@viff.org
Laura Murray | 
lmurray@mpmgarts.com | 604.418.2998
Ines Min | imin@mpmgarts.com | 604.440.0791
 
To schedule an interview in advance, please email press@viff.org.



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