Filmaid festival launched in Nairobi

 

Nana Gecaga with Iliane Ogilvie Thompson President FilmAid.

The National Museum in Nairobi was the place to be last Friday night as the FilmAid Festival was officially launched. The festival shows documentary and feature films from around the world. The FilmAid group specialises in giving refugees a chance to achieve their true potential, by training those interested  in the art of filmmaking.  The organisation currently led by Iliane Ogilvie Thompson partnered with the world famous Sundance Film Festival to get together several mouth-watering shows in Nairobi.
The festival kicked off with a feature film called “Boy” - a coming of age story - that depicted 1980s New Zealand. One of the movie’s stars Taika Waititi who had been flown in specifically for this showing fielded questions on the film before everyone headed out for cocktails with filmmakers of all stripes taking the opportunity to mill and bond. In attendance, apart from FilmAid president Iliane Thompson who had to catch a flight to London, was the executive director of the Sundance Film Institute Keri Putnam, the US Ambassador Scott Gration and his wife Judy as well as Kenya International Film Festival director Charles Asiba.  The films will now be screened for disadvantaged areas around the country including Kibera and Kakuma and Dadaab refugee camps.

http://www.nairobistar.com/society/society/32378-filmaid-festival-launched-in-nairobi

The stage is set for this year's Kalasha Film and TV Awards

The stage is set for this year's Kalasha Film and TV Awards which will be held on the  24^th of September. Film Commission CEO Peter Mutie says the awards are designed to allow Kenyans to celebrate their cultural diversity through film and  recognize the role of film in economic sustainability. This year's awards will feature 29 categories covering both film and television. Application forms for entries are available on www.kenyafilmcommission.com

  http://www.nairobistar.com/classicnews/30775-all-is-set-for-kalasha-awards-on-september-24th-

KALASHA FILM AND TELEVISION AWARDS 2011 ENTRY FORM

Use the link below to download a PDF copy on the entry forn for the Kalasha Awards.

http://www.kenyafilmcommission.com/public_site/webroot/cache/article/file/KALASHA_2011_form2.pdf

Kenya Film Commission 2nd Floor Jumuia Place II, Lenana Road P.O Box 76417 – 00508 Nairobi Kenya
Tel 020-2714073/4 Mobile +254 729 407497, +254 733 650068 email:info@filmingkenya.com
www.kenyafilmcommission.com
1
KALASHA FILM AND TELEVISION AWARDS
2011 ENTRY FORM
Please complete the form and submit with the film/programme entry. Complete one entry form per
entry. Submission DVD should include film/programme and trailer.
SECTION 1: PRODUCTION DETAILS
Production Title:
Duration (minutes):
Shooting Format:
Aspect ratio:
Completion Date:
Production Company (where applicable):
Countries where production took place:
SECTION 2: SCREENING HISTORY
List channels/stations where your production has aired (include dates):
List festivals and any other place where your production has screened (include dates):
Kenya Film Commission 2nd Floor Jumuia Place II, Lenana Road P.O Box 76417 – 00508 Nairobi Kenya
Tel 020-2714073/4 Mobile +254 729 407497, +254 733 650068 email:info@filmingkenya.com
www.kenyafilmcommission.com
2
SECTION 3: PRODUCTION CREW
Please complete crew details below. For larger lists you may attach a separate list of cast
and crew details.
Director Details
Name: _______________________________________________________________________
Postal Address: _______________________________________________________________
Physical Address: _____________________________________________________________
Mobile: _____________________________________ Fax No: _________________________
Email: ______________________________________Website: _________________________
Nationality: __________________________________
Producer Details
Name: ________________________________________________________________________
Postal Address: ________________________________________________________________
Physical Address: ______________________________________________________________
Mobile: _____________________________________ Fax No: __________________________
Email: ______________________________________Website: __________________________
Nationality: __________________________________
Director of Photography: _______________________________________________________
Mobile: _____________________________________ Email: ____________________________
Production Design: _____________________________________________________________
Mobile: _____________________________________ Email: ____________________________
Editor: _________________________________________________________________________
Mobile: _____________________________________ Email: ____________________________
Sound Mixer/Editor: ____________________________________________________________
Mobile: _____________________________________ Email: ____________________________
Original Music by: ______________________________________________________________
Mobile: _____________________________________ Email: ____________________________
Scriptwriter: ____________________________________________________________________
Mobile: _____________________________________ Email: ____________________________
Kenya Film Commission 2nd Floor Jumuia Place II, Lenana Road P.O Box 76417 – 00508 Nairobi Kenya
Tel 020-2714073/4 Mobile +254 729 407497, +254 733 650068 email:info@filmingkenya.com
www.kenyafilmcommission.com
3
SECTION 4: CATEGORIES
Please tick the categories the entry should be considered for.
Film
□ Best Lead Actor Name:
□ Best Supporting Actor Name:
□ Best Lead Actress Name:
□ Best Supporting Actress Name:
□ Best Cinematography
□ Best Sound
□ Best Original Score
□ Best Editing
□ Best Scriptwriter in Original Screenplay
□ Best Feature
□ Best Director
□ Best Documentary
□ Best Short Film
□ Best Vernacular Production
Television
□ Best Lead Actor Name:
□ Best Supporting Actor Name:
□ Best Lead Actress Name:
□ Best Supporting Actress Name:
□ Best Cinematography
□ Best Editing
□ Best Scriptwriter in Original Screenplay
□ Best Director
□ Best Documentary
□ Best Short Film
□ Best Vernacular Production
Special Awards
□ Best Student Production
□ Best Animation Production
□ Best Advert
Kenya Film Commission 2nd Floor Jumuia Place II, Lenana Road P.O Box 76417 – 00508 Nairobi Kenya
Tel 020-2714073/4 Mobile +254 729 407497, +254 733 650068 email:info@filmingkenya.com
www.kenyafilmcommission.com
4
TERMS AND CONDITIONS
1. Length: Short Films and/or Documentaries should be a minimum of 12minutes long.
Feature films should be a minimum of 60 minutes. Programs should be between 5 and 60
minutes in length.
Who May Enter: Films and programmes must have at least a Kenyan producer, Kenyan
director, Kenyan cast or crew to qualify. Only the film maker (producer, director or
executive producer) may submit an entry for the Awards.
Production Date: All films/ads must have been completed between June 1st 2009 and
June 30th 2011. All TV entries must have been on air for at least seven episodes before 30th
June 2011.
Film entries should not have entered for the Kalasha Film & TV Awards previously.
Submission: Each submission should include:-
Submission copy on DVD
Completed entry form
Drop off you entry at the address below:-
Kenya Film Commission
2nd Floor Jumuia Place, Lenana Road
P.O Box, 76417-00508
Nairobi, Kenya
For information you may call 020-2714073/4 or email info@filmingkenya.com
http://www.kenyafilmcommission.com
Please do not submit master copy. Kenya Film Commission will not be liable for loss of the
Film. Kenya Film Commission will retain the submitted DVD, which shall not be returned to
you.
Opening Date: Entries can be received with effect from 24th June 2011
Closing Date: All entries must be received by 18th July 2011
Kenya Film Commission 2nd Floor Jumuia Place II, Lenana Road P.O Box 76417 – 00508 Nairobi Kenya
Tel 020-2714073/4 Mobile +254 729 407497, +254 733 650068 email:info@filmingkenya.com
www.kenyafilmcommission.com
5
Copyright: PLEASE NOTE: If the Production uses material (including music) that may be
owned by a third party (or if a third party has any right or interest in such material), you
may be required to give the Kenya Film Commission written proof that the third party has
consented to the use of the material for the purpose of making the production. To promote
fairness to other artistes, Kenya Film Commission may disqualify an entry that lacks
approval for the use of third party materials.
2. Decisions and Awards
(a) An Academy of long serving, well-known Film Lecturers and Technical experts will
review all the entries and nominate them accordingly into the categories they deem
relevant.
(b) The Academy’s decision will be final and no discussions will be entered into.
(c) The Kenya Film Commission accepts no responsibility for late, misdirected, lost,
undelivered or illegible entries.
(d) Awards will not be transferable but winners may appoint representatives to
receive awards on their behalf.
(e) Failure to comply with these Terms and Conditions will result in disqualification
and an alternate may be selected at the discretion of the Academy, the Kenya Film
Commission and the Award’s Board of Trustees.
3. Kenya Film Commission’s Rights
(a) You hereby grant the Kenya Film Commission the non-exclusive and irrevocable
right to broadcast and/or exhibit (and authorize to any third party the
broadcast/exhibition of) submitted trailers of the Film and program in all media (including,
without
limitation, television, video on demand, satellite video on demand, multimedia
distribution systems, ADSL, internet and mobile/handheld devices) during the
nomination and voting process with the aim of promoting the awards.
(b) All material created by Kenya Film Commission featuring excerpts of the
production is and shall remain the property of Kenya Film Commission.
(c) Kenya Film Commission shall have the right to copy the Films and programs (or
clip(s) of it) and to send such copies to the nominating Academy and to journalists for
the purpose of reviewing the Film and of promoting the Competition.
(d) Nominated Films may be screened at selected theatres and/or Broadcast Houses
or Digital TV during the public voting period in the month of February. Entering your
production in Kalasha therefore is deemed be consent for the carriage of the same.
(e) The right to broadcast the entries for publicity to create awareness of the contents
of any entries is hereunder given without prejudice by the appendage of the signature
of the authorized official submitting the entry.
Kenya Film Commission 2nd Floor Jumuia Place II, Lenana Road P.O Box 76417 – 00508 Nairobi Kenya
Tel 020-2714073/4 Mobile +254 729 407497, +254 733 650068 email:info@filmingkenya.com
www.kenyafilmcommission.com
6
4. Third Party Copyright
Please note:
4.1 You warrant and confirm that you own or have obtained all rights and/or
releases necessary including without limitation:
(a) All rights, releases and/or copyright clearance in relation to all material
included in the production owned or controlled by a third party including
music, literary, dramatic and/or artistic works;
(b) Releases for all locations featured in the Film;
(c) Consents from all persons featured in, portrayed or contributing to the
filming and production of the project, including the director;
(d) License to use all copyright work used in the production or required for its
exploitation, including scripts;
(e) In order to allow the Kenya Film Commission to promote the Competition,
the films, or the programs you hereby consent to Kenya Film Commission
(and its partners) editing and cutting the production in order to exercise the
rights granted to them hereunder and to the use by the Kenya Film
Commission any content from the production in conjunction with other
content and materials in the exercise of their rights hereunder granted.
5. Publicity
(a) You agree to provide the name and biography of all those involved in the
production of the Film or program including actors and directors and grant the Kenya
Film Commission the right to use such information in promoting the Film and the
Awards.
(b) You agree, and will use reasonable efforts, to procure that other participants in
the Film or program agree to take part in reasonable publicity for the Awards as
requested by the Kenya Film Commission.
6. Third Parties
(a) You warrant and represent that you have the right to enter into this Agreement
and to grant the rights set out herein.
(b) You warrant and represent that nothing in the Film or program is obscene,
defamatory, libellous or breaches Government rules.
Kenya Film Commission 2nd Floor Jumuia Place II, Lenana Road P.O Box 76417 – 00508 Nairobi Kenya
Tel 020-2714073/4 Mobile +254 729 407497, +254 733 650068 email:info@filmingkenya.com
www.kenyafilmcommission.com
7
7. Indemnity
You indemnify and hold harmless the Kenya Film Commission, and its affiliated
corporations, from and against any and all claims, suits, liabilities, judgments and
damages arising out of a breach by you of any of the obligations, representations or
warranties contained in these Terms and Conditions.
Please note:
DVDs will not be returned
The Kenya Film and TV Awards ceremony should take place on September 24th , 2011.
I ............................................................................... the Producer/Director of
..................................................................................have read the terms and conditions of this
film and understand them fully and agree to abide by them on this the .......................Day
of................................................... 20...........................................
................................................................ ...........................................................................
(Name) (Signature)

Media Release - Great Line-up at the 32nd Durban International Film Festival

Media Release - Great Line-up at the 32nd Durban International Film Festival

The 32nd Durban International Film Festival, supported by the National Lottery Distribution Trust Fund (principal funder), National Film and Video Foundation, the KwaZulu-Natal Department of Economic Development and Tourism and other valued funders and partners, kicks off on 21 July with the World Premiere of the South African film Otelo Burning, directed by Sara Blecher. Set during the last days of apartheid, the Durban-shot filmtells the story of a group of South African township youngsters who discover surfing as an empowering escape from the political violence of the times. There is drama, romance, rivalry, and tragedy in this convincing fulfilment of local filmmaking potential.

Between the 21st and 31st of July, the festival will be crammed with great films from around the world. Skoonheid, Oliver Hermanus’s groundbreaking film that caused a stir at the recent Cannes film festival, will have its first South African screening at the festival. DIFF will also present the World Premieres of Charlie Vundla’s noir film How To Steal 2 Million, John Barker’s thrilling heist flick 31 Million Reasons, Faith Isiakpere’s crime drama The Algiers Murders, Eldorado by new talents Shaldon Ferris and Lorreal Ferris, the hilarious comedy Taka Takata by Damir Radonic, and The Dream by Zuko Nodada. Making their African Premieres are Mukunda Michael Dewil’s psychological thriller Retribution and Paula van der Oest’s moving film about Ingrid Jonker, Black Butterflies.

DIFF 2011 includes the African Premiere of the year’s most anticipated film – Terrence Malick’s The Tree Of Life, which just won the Palme d’Or in Cannes. Other highlights include Woody Allen’s Midnight In Paris, which will close the festival, Bela Tarr’s The Turin Horse, Andrey Zvyagintsev’s Elena, Jose Padilha’s Elite Squad 2 – The Enemy Within, Takeshi Kitano’s Outrage, Michel Ocelot’s Tales Of The Night, SJ Clarkson’s Toast, Lee Chang-dong’s Poetry, and Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives.

African cinema will also be well-represented by Djo Tunda Wa Munga’s striking and unique Viva Riva!, Nigerian director Andrew Donsunmu’s visually beautiful Restless City, Justin Chadwick’s uplifting Kenya-set film The First Grader, and Ebrahim El Batout’s Hawi which first appeared in Durban as a project at the inaugural Durban FilmMart in 2010.

DIFF will focus on two national cinemas this year: India and Canada. Six films from the great Indian master Satyajit Ray will be presented, alongside daring new works by talented new Indian filmmakers. Leena Manimekelai will present the World Premiere of her film The Dead Sea and other Indian films include Onir’s I Am, Sanjoy Nag’s Memories In March, Kaushik Mukherjee’s Bengali hip hop film Asshole, and Aamir Bashir’s Autumn.

In a very strong year for Canadian cinema, DIFF will present Denis Villeneuve’s Oscar-nominated Incendies, the gritty drama Jo For Jonathan, Ed Gass-Donnelly’s Small Town Murder Songs, Xavier Dolan’s ravishing Heartbeats, and the quirky Familiar Ground by Stephane Lafleur. Canadian documentaries include Barry Steven’s Prosecutor, a fascinating look at the International Criminal Court, and Shannon Walsh’s St. Henri, The 26th Of August.

Germany is also well-represented at DIFF 2011 with Tom Tykwer’s Three, Pia Marais’ At Ellen’s Age, Ulrich Kohler’s Sleeping Sickness and the stunning documentary El Bulli – Cooking In Progress by Gereon Wetzel.

Local stories in the powerful documentary line-up include World Premieres such as Ryley Grunewald’s The Dawn of a New Day where healing is shown as being more than skin deep, Mickey Dube’s Sobukwe, A Great Soul about one of this country’s most influential, but unsung, heroes, the Keith Jones/Deon Maas music revolution collaboration Punk In Africa, and the Dara Kell/Chris Nizza collaboration Dear Mandela about innovative leadership emerging in informal settlements. Not to be missed, DIFF will present the African premiere of Mama Africa, the inspirational film about Miriam Makeba.

With the COP conference on climate change taking place in Durban later in the year, an exceptional range of conscientising environmental films is included in this year’s Eco-Lens focus. There is heated Irish village resistance to Shell in The Pipe; Blood in the Mobile shows how frightening mining conditions in the DRC produce material for our cellphones; and, fresh from Cannes, The Big Fix exposes corruption and cover-ups surrounding the Mexican Gulf oil spill. Countdown to Zero (by Lucy Walker whose Waste Land won big awards in 2010) is about nuclear weapons and challenges to disarmament, while Into Eternity covers nuclear waste storage. Eco-Pirate- the Story of Paul Watson is about this legendary defender of our oceans and its creatures (Paul Watson will attend the festival).

The riveting Sing Your Song is the story of Harry Belafonte from his music and film career to his involvement in civil rights and anti-apartheid movements. A special highlight will be Leonard Retel-Helmrich’s tracking of an Indonesian family in Position Among the Stars. This masterful film won top awards at both Sundance and IDFA.


Look out also for King Naki, a beautiful story of struggle and achievement set around horse-racing in the rural Transkei, the Cape Town film The Imam and I , and the Durban-shot Street Kids United.

The global financial meltdown is the focus of the 2011 Academy Award winning Inside Job, while John Pilger’s biting The War You Don’t See is a timely investigation into the media’s role in war. Other documentaries cover Bollywood, Robert Mugabe, the Black Power movement in America, organic agriculture, paraplegic musicians in Kinshasa, and West Indian cricket. Packages of short documentaries and short films are also on offer.

Opening with an outdoor screening on the beachfront on 24th July, DIFF will host the Wavescapes Surf Film Festival for the 7th consecutive year – a six-day blast of red-hot wave action, surf stories and groundbreaking cinematography.

INDUSTRY WORKSHOPS

DIFF has become a valued meeting point for filmmakers and industry professionals, local and international, and the seminar and workshop programme is populated with leading experts offering insight and debate on a range of relevant issues. Talent Campus Durban is an intensive five-day programme bringing together nearly 50 African filmmakers from 16 countries on the continent. Durban FilmMart, www.durbanfilmmart.com a partnership with the Durban Film Office, not only facilitates opportunities for African projects selected for meetings with international financiers and potential co-producers, but also provides a seminar and master class programme for registered DFM delegates. 2011 marks the 10th year of DIFF’s partnership with University of KwaZulu-Natal’s AV divison who run the workshop programme for first-time filmmakers from community organizations. There are also a number of presentations by the National Film and Video Foundation.

Special events running conjunctively with DIFF include an exhibition of Bollywood paintings by Ranjit Dahiya, organized in association with Alliance Francaise, and performances by Grammy-nominated Debashish Bhattacharya, a leading exponent of the chaturangui (Indian slide-guitar).

Festival screenings will take place at Nu Metro Cinecentre Suncoast, Ster Kinekor Musgrave, Cinema Nouveau Gateway, the Elizabeth Sneddon Theatre, Ekhaya KwaMashu, The Royal Hotel, Luthuli Museum (Groutville) and other venues.

For film synopses, screening schedules and programme details on the 32nd Durban International Film Festival visit www.cca.ukzn.ac.za.

The Durban International Film Festival is organised by the Centre For Creative Arts (University of KwaZulu-Natal) with support by the National Lottery Distribution Trust Fund (principal funder), National Film and Video Foundation, KwaZulu-Natal Department of Economic Development and Tourism, HIVOS, City Of Durban, German Embassy of South Africa, Goethe Institut of South Africa, Industrial Development Corporation and a range of other valued partners.

-ends

Sharlene Versfeld

Versfeld & Associates: The Communication Works
031-8115628
0833263235
sharlene@versfeld.co.za

Twitter sharvers
Skype: sharlene.versfeld

GO TO DIFF WEBPAGE- www.cca.ukzn.ac.za

TALENT CAMPUS PARTICIPANTS AT DURBAN INTERNATIONAL FILM FESTIVAL

 

		22 - 26 July 2011 at the 32nd Durban International Film Festival (21-31 July - 2011 )
TALENT CAMPUS PARTICIPANTS AT DURBAN INTERNATIONAL FILM FESTIVAL
The Durban International Film Festival has finalised selection for this year's edition of Talent Campus Durban (22-26 July).  Nearly 50 filmmakers representing 16 African countries - Botswana, Burkina Faso, Cameroon, Cote d'Iivoire, Egypt, Ethiopia, Ghana, Kenya, Lesotho, Mali, Nigeria, Rwanda, Swaziland, Uganda, and Zimbabwe - will converge on Durban to take part in an intensive programme of workshops and masterclasses during the first five-days of the festival. The Talents, who were selected through a rigorous application process, will also have the opportunity to attend screenings and events at the 32nd Durban International Film Festival which runs from 21-31 July. Themed Africa in Motion, the 4th Talent Campus Durban this year also includes a Doc Station component where three selected talents will receive expert mentoring before pitching their documentary projects to financiers, commissioning editors and potential co-producers within the Durban FilmMart. Monica Rorvik, Talent Campus manager and assistant manager of the DIFF, comments that "Talent Campus Durban has already made a significant contribution to growing both skills and opportunities for African filmmakers. The festival has noted more film submissions coming from talents - this year DIFF is screening many films by previous Talent Campus participants. Career paths are opening up internationally for some of them, such as Cameroonian filmmaker Ariane Astrid Adoji, whose first film premiered in DIFF 2010 and was then picked up for screenings at Goteborg, Dubai and HotDocs festivals, winning an award in Dubai.  Ariane returns to Durban this year with a new project in the Durban FilmMart. “ Talent Campus Durban is a partnership project between the Durban International Film Festival in cooperation with the Berlinale Talent Campus and the Berlin International Film Festival, and is supported by the German Embassy in South Africa, the Goethe-Institut, and the KwaZulu-Natal Department of Economic Development and Tourism. Apart from the main event in Berlin, Talent Campus partnerships also take place at selected festivals in Buenos Aires, Guadalajara and Sarajevo.  A further Talent Campus is envisaged for Japan. Opportunities for participating talents are enhanced through Talent Campus networks and the Berlinale’s global information platform. The Durban International Film Festival is organised by the Centre For Creative Arts (University of KwaZulu-Natal) with support by the National Lottery Distribution Trust Fund (principal funder), National Film and Video Foundation, KwaZulu-Natal Department of Economic Development and Tourism, HIVOS, City Of Durban, German Embassy, Goethe Institut, and a range of other valued partners.
MEDIA QUERIES:
Versfeld and Associates Tel: 031-8115628 Fax: 0866827334 Email: sharlene@versfeld.co.za
FESTIVAL ENQUIRIES:
Phone: +27 (0)31 260 2506/1367 Fax: +27 (0)31 260 3074 Email: talent@ukzn.ac.za or talent.durban@gmail.com www.cca.ukzn.ac.za
TALENT CAMPUS DURBAN PARTICIPANTS  2011:
Kitso Lynn Lelliott (Botswana) Eudes Narcisse Wandji Ngassa (Cameroon) Lassina Kon (Côte D’ivoire) Ahmed Ghonemi (Egypt) Nadine Salib Abdel Said (Egypt) Eskindir Tefera Mengistu (Ethiopia) Yinekachew Shumete Desalegn (Ethiopia) Cedric Ido (France) Akosua Adoma Owusu (Ghana) Kwaku Duah Prempeh (Ghana) Natasha Likimani (Kenya) Peggy Mbiyu (Kenya) (also in Doc Station Durban) Zipporah Nyaruri (Kenya) Thabiso Mohapeloa (Lesotho) Coulibaly Daouda (Mali) Bodunrin Iruemiobe (Nigeria) Peter Chidiebere Omewiri - Pius (Nigeria) Mugwaneza Richard (Rwanda) Anel Alexander (South Africa) Anthonie Van Der Walt (South Africa) Calum Macnaughton (South Africa) Duduetsang Makuse (South Africa) Dylan Valley (South Africa) (also in Doc Station Durban) Gavillan Letsoalo (South Africa) Guy Sclanders (South Africa) Jarryn Katia (South Africa) Jonathan Caramanus (South Africa) Kyle Lewis (South Africa) Mandilakhe Yengo (South Africa) Mark Edwards (South Africa) Matthew Jankes (South Africa) Molefi Lebone (South Africa) Mthokozisi Lembethe (South Africa) Padraic O'meara (South Africa) Rishane Rajkoomar (South Africa) Rudzani Muthambi (South Africa) Sean Drummond (South Africa) Tiny Mungwe (South Africa) Tshegohatso Molete (South Africa) Yashvir Bagwandeen (South Africa) Zachariah Rapola (South Africa) Nonhlanhla Benji Dlamini (Swaziland) (also in Doc Station Durban) Agnes Kamya (Uganda) Joseph Kenneth Ssebaggala (Uganda) Rehema Nanfuka (Uganda) Lydia "Sue-Ellen" Chitunya (Zimbabwe) Rudo Chakanyuka (Zimbabwe) Simon De Swardt (Zimbabwe)

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Move...sample doc. prop

Weapons of mass film production get rolling

By JOSEPH BONYO jbonyo@ke.nationmedia.comPosted Monday, February 21 2011 at 16:45

Kenyans films have taken too many baby steps to grow into a full commercial industry.

With history tracing it’s beginning to early 1960’s, the industry has faced numerous challenges from within and without.

While several big budget and internationally acclaimed films have been shot in Kenya, local players have barely scratched the surface.

“We have barely utilised the talent and content that we have locally to grow this industry. There needs to be a change in focus for us to grow to international standards,” says Information and communication PS Dr Bitange Ndemo.

However, the past five years have seen a number of players in the sector come out bare-knuckle looking for nothing short of beating their peers in Lagos and Abuja in Nigeria.

This has seen a number of productions rolled out to first endear homegrown viewers before cutting across the borders.

“The local film industry has been on a downward trend for a long time,” notes a recent survey commissioned by the Kenya Film Commission. “However, recently locally produced programmes have begun to enjoy a strong following both locally and internationally.”

According to the survey, Economic contribution of Film and TV in Kenya, there is a shift in status evident in television programmes aired by the local media stations and pay TV channels like DStv. This has exposed local content to the international market and spurred production locally.

Some of the local hits done in the recent past include; ‘Lost’ by Bobby Bresson, ‘The race’ by Mburu Kimani, ‘The stigma’ by Sheila Mulinya, ‘Malooned’ by Bob Nyanja, ‘Ras Star’ by Wanuri Kahiu and Anna Marano.

Other productions that got good ratings from local audience include ‘Dangerous Affair’ and ‘Project Daddy’ among others.

“There is a lot more that can be done in this industry if right measures are put in places. Currently some of the regulations around filming and production are a deterrence to the industry’s growth,” says Mr Peter Mutie, the chief executive officer of the Kenya Film Commission.

Mr Mutie notes that in some local government jurisdictions, filmmakers pay hefty amounts per day to shoot at a site.

An example is in Malindi where Sh100,000 is charged per day per site of a film location. In Nairobi, the City Council is said to have recently increased the charge to Sh50,000 per street per day to shoot a film.

Economically the industry brings in about Sh3 billion annually, which is three categories as either direct and indirect contribution or through ripple effects from the industry.

Some of the areas that the industry contributes to indirectly include tourism, skills and labour supply, culture and merchandising.

“What the survey revealed is that the industry has a number of sectors that it contributes to indirectly such as the hotel and food industry, transport, financial services, legal among others,” says Mr Mutie.

But then the total value of the industry is difficult to ascertain since it’s not mandatory to register a film or television production. As a result there might be a large part which is not captured in the official records.

Compared to the Nigerian movie industry, Kenya performs poorly both in terms of economic contribution and levels of production. Annually it contributes about Sh22.8 billion to the Nigerian economy.

Nollywood, as the business is known, churns out about 50 full-length features a week, making it the world’s second most prolific film industry after India’s Bollywood, according to an article in The Economist.

With its origins traced to 1992, Nollywood has cut itself a niche of producing movies for home consumption rather than for cinema halls. This might perhaps explain why the movies from the west continue to flood the Kenyan market as opposed to local productions.

“Films produced locally also suffer from a perception that they are inferior in quality compared to productions from foreign countries,” says Mr Mutie.

Although a number of locally produced films have won accolades globally, the government is yet to fully understand and support the industry.

In the 2009/2010 financial year budget, the government announced certain tax incentives to spur growth in the industry.

The full benefits of these incentives are yet to get to the industry as immigration and customs officials still harass producers out to utilise the benefits.

“These statistics will now help the government to look at how best it can partner with industry and may be even set up a film fund to promote the industry,” notes Dr Ndemo.

African filmmakers meet in Nairobi

African filmmakers meet in Nairobi to count blessings and plot

Africa prepares to unveil list of finalist filmmakers and films selected for the seventh edition of the Africa Movie Academy Awards (AMAA). Photo | AMAA | AFRICA REVIEW |

By MWENDA wa MICHENI in Nairobi  (email the author)

Posted Monday, February 14 2011 at 16:27

In less than two weeks, African filmmakers; actors and critics congregate in Nairobi, not just to witness the unveiling of finalists picked for the continental 7th edition of the Africa Movie Academy Awards (AMAA), but also to take stock of the industry.

Ahead of the event, Tony Anih, the Executive Secretary of AMAA, spoke on the event and state of African Cinema. Excerpts:

What does AMAA promise this year, and how is it going to deliver results?
AMAA has the highest number of films submitted for consideration this year. Filmmakers have come to understand the fact that they have to up the ante in order to play this game. Africans and the world shall see very good films during the nominations and the actual awards ceremony. We are working round the clock to ensure a very successful event.

What, exactly, is happening in Nairobi and why this location?
Nairobi will be hosting the Nomination Night on February 25, 2011. The venue is the Ole-Sereni Hotel on Mombasa Road. There will also be a music concert dubbed Nairobi Rocks with Stars on February 26, 2011 at the Carnivore grounds in Lang’ata. P-Square, J Martins, Edge, Kwela Tebza and a couple of other local artists from Kenya shall perform. African movie stars like Omotola Jalade-Ekeinde, Rita Dominic, Genevieve Nnaji, Aki & Paw Paw, Desmond Elliot, Jackie Appiah, Majid Michel, Bond Emeruwa, Kate Henshaw-Nuttal, Ramsey Nouah, Segun Arinze, and Mercy Johnson will also be in attendance. Nairobi is the entry point into Eastern Africa. It is because of her strategic position that we are coming here.

Apart from Nigeria, how has the rest of Africa been involved in this awards project and what, so far, what are the results for African cinema?
The popularity of AMAA is growing every day. African filmmakers have come to embrace AMAA as their own equivalent of the US Oscars and that is why the number of film entries keeps growing every year. For example, AMAA received the highest number of entries this year from Kenya. One production house alone entered 10 films and, in all we have about 27 entered from Kenya. In Francophone countries of Africa, we have more entries this year than ever before. AMAA received more films from South Africa this year than we had in the previous years. More films came from the Diaspora, especially the US, Europe, Australia and Asia. This goes to show that more Africans are getting very involved.

Africa prepares to unveil list of finalist filmmakers and films selected for the seventh edition of the Africa Movie Academy Awards (AMAA). Photo | AMAA | AFRICA REVIEW

Every year, the AMAA Nomination Night moves from one African country to the other. This has created huge interest from not only filmmakers, but movie fans who want their country to host the event. There is also big pressure from other countries, for instance, South Africa, for AMAA to be based in their country.
Over the last six years, AMAA has managed to raise the profile of African cinema. Films that are nominated or win at AMAA are now getting accepted in the world film festival circuits: Cannes, Berlinale, Toronto International Film Festival, Dubai International Film Festival, Pan African Film Festival in Los Angeles (USA), and London African Film Festival. Most AMAA-winning films have so far travelled and been screened in more than 26 international festivals. Furthermore, AMAA winners have also been celebrated in major festivals. Nigerian Kate Henshaw-Nuttal has walked on the red carpet in Berlinale, Kenyan Wanuri Kahiu got grants from foreign donors to make a short film after winning at AMAA.

Where will African cinema be in about 10 years from now?
We are still growing. There is a new phase of African cinema, especially with the coming of the digital age, this is what we are trying to tap into so as not to be left behind. We are strongly promoting the idea that Africans must begin to tell their own stories using the cinema medium. This is beginning to yield fruits. More young Africans are now making films that are travelling places. We are beginning to have cinema culture all over again. Film institutions are being built across Africa. A good example is the brand Nollywood that is influencing many African countries. Nollywood was named by Unicef as the world’s second largest producer of movie content in the world after India’s Bollywood. This is a milestone for Africa. In the next 10 years or thereabout, Africa will be a force to reckon with in world cinema. Besides creating huge employment opportunities, lost African values and traditions will be restored through this medium.

Its every filmmaker's dream to get a mention at festivals like Cannes, Fespaco and Berlin. When will AMAA get to the league of these festivals?
I must say that not every filmmaker would want to be mentioned on festival circuits. This is because we have different categories of filmmakers. There are those who make festival films, and those that make commercial ones. It is important that this is clarified.
However, like I said earlier, AMAA-winning films are travelling all over the place. For example, after winning five AMA Awards, From A Whisper by Kenyan Wanuri Kahiu got enormous visibility. Kahiu was invited and is still being invited to film events, markets and festivals around world. From A Whisper was screened in Pan African Film festival in Los Angeles where it won an award. It was also screened at Cannes International Film Festival (no connection with the Festival de Cannes), London African Film Festival, was screened in the pan-African Cinetoile African mobile cinema network that was conducted in eight sub-Sahara African countries: Kenya, Uganda, Tanzania, South African, DRC, Mali, Burkina Faso and Zimbabwe. By winning AMAA as the best director and best film, Kahiu’ s short film, Pumzi, was funded by an American funding agency that support African films. Ugandan Matt Bish, another AMAA winner, got the funding for his short film the following year from the same organisation.

Where do you see Nollywood in 10 years and what is going to take it there?
I would want to see Nollywood drastically improve in quality so as to match the volume of content coming out of that industry. Most importantly, I’d like to see it influencing other African countries in making quality films. This will raise employment and inflow in revenue from other parts of the world. And by implication, position Africa as a powerhouse in the world cinema.

Kenyan-born film director says sector is competitive, expensive

A poster advertising the movie ‘Bend It Like Beckham’. Some young British Asians have never experienced racism in any form. Photo/FILE
By GLOBAL BRIEFING (email the author)


Posted Thursday, February 3 2011 at 00:00

Kenyan-born film director Gurinda Chada is most famous for the hit films “Bhaji On the Beach” and “Bend It Like Beckham,” which explore the lives of British Asians.

She started her career as a radio journalist and directed a number of award winning documentaries for UK television, before moving into features. In this interview by Global-Briefing she expounds on her career:

How, when and why did you decide that you wanted to become a filmmaker?

I decided during the riots of the 1980s when second generation British Asians, African and Caribbean people stood up and started to claim their Britishness.

It was a turbulent time and I became very aware of the acute importance of the media in constructing negative, or positive images of us.

I wanted to do something about it so I became a news journalist. In the event, I found news too constricting, so I moved into films. With films, you can create new worlds, new characters, new realities. , and I hope I played a part in that.

In 1989 you made I’m British But…, which was an examination of the complex issue of identity for young British Asians. What, if anything, has changed for young people of Asian descent over the intervening 21 years?

There has been a massive change. Some young British Asians now have never experienced racism in any form. Some are extremely successful and that is across the political and professional spectrum.

One thing I didn’t anticipate was that we would see such a rise in the more traditional or fundamentalist views among young Muslims, but again this is a way of asserting an identity and feeling that they belong to a community.

Would you encourage young people today to take up filmmaking as a career?

Absolutely. I cannot believe I get paid to make films. It is just fantastic. Making films is a way of communicating with the rest of the world – your innermost thoughts, politics, cultural views. You can do so much and you can make it entertaining at the same time. Filmmaking is a higher form of politics.

In an incredibly competitive field, what would be your advice to someone seeking to make an impact?

It is incredibly competitive and expensive. If anyone is seriously considering going into filmmaking, they have to be really clear who they are making the film for and why they are doing it. Filmmaking is all about vision, focus, having an opinion and being passionate abut communicating it to others.

You were born in Kenya to Indian parents and raised in Britain. What does the Commonwealth mean to you?

Well, in some ways it still has pejorative connotations for me. It is a reminder of the Empire. But I believe that is all the more reason to reclaim it. It’s like my OBE. I could have said no to it, but again, I thought it was important to reclaim it. My grandparents lived under Empire, so I know it would be hard for them to understand.

But the Commonwealth is a different thing now.


What I like about it is that it is a collection of very different countries with their own cultures and identities, but which also share a common language and culture.

How would you describe your home?

My home is my sanctuary. It is a wonderful, beautiful, modern mews house. It was built about 20 years ago by a Japanese lady, who used feng shui proportions, so it feels very good. I love it.

What do you do to relax?

My favourite form of relaxation is massage. It used to be crap TV. In fact, now I sometimes combine the two – that’s the ideal.

Who would you most like to meet?

My PC answer is Barack Obama. My non- PC answer is Bruce Springsteen.

What is the best piece of advice you have ever been given?

The best piece of advice was given to me by my A-level sociology teacher, Barry Sedgewick. He told me to always be aware that there are different perspectives on the same issue — the traditional conservative or fundamentalist perspective, the liberal or phenomenologist view, and the Marxist view.

If you always bear these three angles in mind, then you’ll get the full picture.

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Durban FilmMart 2011 Deadline Approaches

Press Release

Durban FilmMart 2011 deadline is around the corner

 

The deadline for the submissions for the second annual Durban FilmMart is looming. Set to take place in Durban from 22-26 July 2011, during the 32 nd edition of the Durban International Film Festival, the closing date for entries is 15 February 2011 . Aimed at raising the visibility of projects from the African continent and creating opportunities for African filmmakers, the Durban FilmMart is a joint venture between DFO, the film-industry development arm of the eThekwini Municipality and the Durban International Festival (DIFF), which is organised by the Centre for Creative Arts (University of KwaZulu-Natal).

 

The inaugural Durban FilmMart in 2010 saw 200 producers, directors, sales agents, distributors, financiers and funding organisations from across the world, attending meetings, project presentations and a series of master classes and workshops on the latest trends in film finance, marketing, distribution and new media technologies. Of the 75 qualifying applicants, 12 projects in both the feature film and documentary genres from as far afield as Egypt , Nigeria , Ethiopia , Zambia and Burkina Faso , were chosen to participate in the Finance Forum segment of the Durban FilmMart.

 

Commenting on the success of the first edition and noting the anticipatory interest of potential investors, Toni Monty of the Durban Film Office (DFO) added, “Film practitioners from all corners of the African continent are encouraged to take this opportunity as a means of promoting their projects, meeting lead experts and networking with industry professionals from across the globe”.

 

Peter Rorvik, Director of the Durban International Film Festival echoed Monty's sentiments: “ The Durban FilmMart will stimulate African cinema production and facilitate project collaboration between African filmmakers.”

 

The Durban FilmMart will also allow aspiring film producers the opportunity to be spotted for inclusion in the International Film Festival Rotterdam's CineMart one of the world's most respected co-production markets. Three producers who participated in last year's Durban FilmMart will attend the CineMart's 2011 Rotterdam Lab, a high-level producer workshop that supports independent film production, and provides an opportunity to meet and network with global film industry players.

 

Filmmakers preparing submissions to the Durban FilmMart can note the comments of Egyptian filmmaker Hossan Elouan, whose film Hawi scooped an award at the Doha Tribeca Film Festival. Elouan took part in the Durban FilmMart in July 2010 and described it as “an exciting experience - it gets all the participants under one roof, so they can exchange ideas, and do business together. It is also important because it puts African filmmakers and producers with the right industry contacts in Europe and North America , which opens doors for international co-productions with Africa , and better distribution possibilities for African films across the globe.”

 

Entry is open to:
•  Projects with an African citizen attached to one of the three key creative roles of producer, director or writer. Proof of African citizenship or birth must be provided through a certified copy of a valid African passport/birth certificate;
•  Africans living in the Diaspora, but who still have African citizenship or have proof of birth in Africa ;
•  Projects with a producer attached.
For more information on the Durban FilmMart and how to submit your project please visit www.durbanfilmmart.com
For further enquires contact email: durbanfilmmart@durban.gov.za or durbanfilmmart@gmail.com

 

Issued by the Durban Film Office and Durban International Film Festival
For enquiries contact:
Ms Tozi Mthethwa and Ms Mona Pilane
DFO Publicists
Tel: 031-705 7131/2989
Fax: 031-705 2479
Cell: 073 681 1234
Cell: 083 307 9067
Email: mona.pilane@gmail.com
Email: tozi@igulamedia.co.za

 

For media enquiries regarding the Durban International Film Festival:
Sharlene Versfeld
Versfeld & Associates: The Communication Works
Tel: 031-8115628
Cell: 083 326 3235
Email: sharlene@versfeld.co.za

 

For 32nd Durban International Film Festival 21- 31 July 2011 enquires

Email: diff@ukzn.ac.za

Tel: +27 (0)31 260 2506

Web: www.cca.ukzn.ac.za

 

22nd Pan African Film and Television Festival

Fespaco bounces back

Two young Burkinabe girls stand 25 February 2007 in front of a cinema theatre in Ouagadougou displaying films competing in the 2007 Fespaco. Africa's biggest film festival returns in February in the capital of Burkina Faso hoping to revive the continent's ailing cinema industry. Photo | FILE | AFRICA REVIEW |

Dated Wednesday, January 19 2011 at 14:40

This is the 22nd Pan African Film and Television Festival of Ouagadougou.Fespaco is considered as one of the biggest film events on the African continent. This biennial event brings together all the uneven years and for one week, African and not – African professionals and festival – goers from all over the world sharing one common factor: the African film and African Diaspora.

During this great film manifest, various film competitions are organized and professionals of the seventh art demonstrate their expertise and excellence to put the African cinema on the international stage. It is both a cultural event, through art and cultural expression, as a festive event with thousands of festival – goers who meet together every two years to communicate, to build relationships, to exchange expertise and to reinvent themselves.

Source: www.artmatters.info

Dates: February 26-March 5, 2011

Venue: Ouagadougou, Burkina Faso

Kenya's Homeboyz studios' 'Tinga Tinga tales', a children animation TV series aired on BBC

A twist to the unpretentious Tinga Tinga tale

A Tinga Tinga exhibition in Copenhagen. Photo | BERTHA KANG'ONG'OI | AFRICA REVIEW |

By BERTHA KANG'ONG'OI  (email the author)

Posted Thursday, January 13 2011 at 08:54

Last year was a great one for Tinga Tinga art - some original, unpretentious art from Tanzania that is currently attracting considerable global attention. There was an exclusive Tinga Tinga exhibition in Copenhagen last August; a piece of Tinga Tinga art returned an impressive $ 51,000 at an auction in Paris last October; then came 'Tinga Tinga tales', a children animation TV series aired on BBC, as created in Kenya's Homeboyz studios.

But these opportunities have not come without challenges: the television production, which is said to be one of the most ambitious animation production in East Africa, has left Tanzanian artists unhappy. Tanzania’s Tinga Tinga Artists Cooperative Society (TACS) and UK-based Tiger Aspects, the production company that produced the series, are warring. And up until a few days before last Christmas, it seemed inevitable that the tussle would end in up court.

So how did this dream project end up here?

Claudia Lloyd, head of animation at Tiger Aspects, was travelling in East Africa in 2005. It was in Tanzania that she came across the Tinga Tinga genre of art. She was quite impressed.

“Finally I met the cooperative’s representatives and we started talking.” Over the years, the production and marketing of the art has been under Tinga Artists Cooperative Society.

Animated dreams
At this stage, it was just a dream project. But Claudia believed so much in the potential of an animated film project of African tales that she went ahead with a pilot project in 2006.

“The initial plan was to do the entire production in Tanzania but it soon became clear to me that that would not be possible,” says Claudia. “The internet connection in Tanzania was not reliable and there were more trained animators and editors in Nairobi than in Tanzania. So Nairobi it was.”

After the pilot project, Claudia returned to Europe to look for funds for a complete series.

By the end of 2007, Claudia had successfully convinced BBC in London and Disney World in the US to buy rights to the concept.