Quand
Où
Média
Billets
En présence de
co-présenté par
Screening followed by a collective discussion in French and in English moderated by Yimi Poba-Nzaou with Miryam Charles in attendance.
PROGRAMME
Le monde est à elles
Nadia Louis-Desmarchais | 2023 | numérique | 21 mins (in French with English subtitles)
Currently, post-pandemic, one in two young people show symptoms of anxiety and depression. The World is ours is a film that gives the opportunity to six Montreal teenage girls to leave their urban environment for the first time to take part in a nature canoe-camping expedition. By presenting their struggles and small victories, the film poetically and luminously embraces their vulnerability, emphasizing in broad strokes the power of female sisterhood and therapeutic intervention by nature.
In an intervention cinema approach and seeking to democratize access to the outdoors for marginalized communities, the production of the film took on the responsibility of defraying the costs of the expedition for these six young women.
Chanson pour le Nouveau Monde
Miryam Charles | 2021 | numérique | 9 mins (in Haitian Creole, with English subtitles)
Following the disappearance of a man in Scotland, his daughter recalls words chanted before nightfall.
100 Ghosts
Noncedo Khumalo | 2022 | numérique | 1 mins (no dialogue)
A woman awakes to mysterious sounds—and confronts an astonishing surreal world summoned forth by her innermost fears.
Drei Atlas
Miryam Charles | 2018 | numérique | 7 mins (in German, Haitian Creole, with English subtitles)
A maid is suspected of murdering her former employer. Questioned by the police, she will reveal the existence of a supernatural power.
Fucked Like A Star
Stefani Saintonge | 2018 | numérique | 8 mins (in English)
A poetic meditation on women’s work and the dreamlife of ants set to the words of Toni Morrison.
SAMRAA
Dita Hashi | 2021 | numérique | 15 mins (subtitles in English)
SAMRAA is the grammatically singular, feminine form of the root ‘asmar’, the Arabic word for a contested shade of brown. The term is both a descriptor and a racial designation burdened with historical and social meanings. SAMRAA lives on in unsought nicknames, catcalls, intimacies and absences. It marks the borders of brownness/Blackness, displacing the latter and rendering it palatable.
Often used as a blunt instrument of political correctness, SAMRAA is the feminine figure distanced from the negative associations which cling to Blackness across the Arab world. SAMRAA is an experimental moving image work which explores this term as a site of both enclosure and endearment. Dita Hashi slices up Arabic pop music videos, live performances and archival footage across space and time, producing a new dissonant soundtrack made up of linguistic reiterations and derivatives.
SAMRAA evokes this contaminated kinship through sonic manifestations and pelagic yearnings. It defamiliarizes and recontextualizes the asmar’s loose ubiquity. Engaging with the provocations of scholar-critic Hortense Spillers and the poetry of Muhammad al-Fayturi and partly shot on the coast of the Arabian Gulf by essayist, poet, and the film’s creative adviser Momtaza Mehri, SAMRAA elaborates these chromatics of domination. It restages this space of sanitization and disavowal, one which catches the Black woman subject in its tangled net.
Dreaming Rivers
Martina Attille | 1988 | numérique | 30 mins (in English)
Dreaming Rivers (1988) is a film written and directed by Martina Attille for Sankofa Film & Video. In this allegorical work, actor Corinne Skinner Carter performs the role of Ms T, a black Caribbean woman in transition. Her children Daughter (Angela Wynter), Sister (Nimmy March) and Sonny (Roderick Hart) sit at her bedside and attend to the unspoken intimacies of history and transnational belonging.
The Season of Burning Things
Asmaa Jama & Gouled Abdishakour Ahmed | 2021 | numérique | 9 mins (subtitles in English)
The Season of Burning Things, is a moving-image collaboration between the two artists. Unfolding from the creators’ perspectives in the Somali diaspora, the piece takes the lead from East African mythos and Islamic imagery to explore mythmaking, Blackness; a ‘generation of ghosts’ and the transient spirit. Asmaa Jama is a Bristol-based Somali poet and visual artist. They are the co-founder of Dhaqan Collective, a feminist art collective, and were recently shortlisted for the Brunel African Poetry Prize and longlisted for the National Poetry Competition.
Gouled Abdishakour Ahmed is an Addis Ababa-based Somali visual artist, stylist, costume designer and writer. Their ongoing self portrait series One Day These Names Will Be Ours explores the gaps that exist within formal language in the understanding of gender expressions outside of the gender binary. Jama and Ahmed previously collaborated on Before We Disappear, an interactive film exploring hypervisibility/invisibility and surveillance.
No Archive Can Restore You
Onyeka Igwe | 2020 | numérique | 6 mins (in English)
The former Nigerian Film Unit building was one of the first self-directed outposts of the British visual propaganda engine, the Colonial Film Unit, stands empty on Ikoyi Road, Lagos, in the shadow of today’s Nigerian Film Corporation building. The rooms are full of dust, cobwebs, stopped clocks, and rusty and rotting celluloid film cans. Amongst these cans, a long-lost classic of Nigerian filmmaking, Shehu Umar (1976), was found in 2015. The films housed in this building are hard to see because of their condition, but also perhaps because people do not want to see them. They reveal a colonial residue that is echoed in walls of the building itself.
Taking its title from the 2018 Juliette Singh book, No Archive Can Restore You depicts the spatial configuration of this colonial archive, which lies just out of view, in the heart of the Lagosian cityscape. Despite its invisibility, it contains purulent images that we cannot, will not, or choose not to see. The film imagines ‘lost’ films from the archive in distinctive soundscapes, juxtaposed with images of the abandoned interior and exteriors of the building. This is an exploration into the ‘sonic shadows’ that colonial moving images continue to generate.
Except This Time Nothing Returns From the Ashes
Asmaa Jama & Gouled Abdishakour Ahmed | 2023 | numérique | 16 mins (subtitles in English)
‘Except This Time Nothing Returns From the Ashes’ (2023) is a collaborative experimental moving image piece made between Asmaa Jama and Gouled Ahmed. Shot in Addis Ababa, Ethiopia the film follows five ghostly, glitchy presences haunting a city. Inspired by a situated East African reading of the African photography studios of the past, the work explores the themes of self-portraiture, archiving and memory to consider who is excluded from institutionalized national narratives.
Combining poetry, experimental sound, animation, and collected familial photographs the film opens a portal to remembering those who would otherwise be forgotten, those systematically rendered peripheral. Using a magical realist lens, the film explores photography’s potential to build & corrupt canons. We harness the power of self-portraiture as an act of resisting these erasures.
Le Roi n’est pas mon cousin
Annabelle Aventurin | 2022 | 16 mm, DV Cam & Super 8mm vers numérique | 30 mins (in French and Guadeloupean Creole, with English subtitles.)
Bringing together poignant interview clips, excerpts of text and symbolic imagery, The King is Not My Cousin is a familial documentary essay centred around resilience, history, and sacrifice. Filmmaker Annabelle Aventurin chronicles her grandmother’s experience from Guadeloupe, a journey of resilience and sacrifice across the Atlantic. The pair revisit anecdotes and historical experiences whilst exploring the meaning of Caribbean identity on colonial impact. Passages of Karukera ensoleillée, Guadeloupe échouée (“Sunny Karukera, Stranded Guadeloupe”), a book written in 1980 by Aventurin’s grandmother, point to the harrowing reality and repercussions of slavery. The mixture of the fond yet wounding first-person narrative creates an authentic composition of sound and moving image.
Notre Mémoire
Johanna Makabi | 2021 | numérique | 12 mins (in French, with English subtitles)
Mbissine Thérèse Diop played the starring role in Ousmane Sembène’s landmark first feature, 1966’s Black Girl (La Noire de…). Today, she looks back on her experience as a Black actress in the 1960s.
Léon G. Damas
Sarah Maldoror | 1994 | 16mm vers numérique | 25 mins
Sarah Maldoror makes the voice of Guyanese poet Léon-Gontran Damas heard while drifting between the landscapes in which the writer lived, from Cayenne to Paris. His peers (Césaire, Senghor) bear witness to the poetic force of this founder of Négritude.
BIOGRAPHIES
Nadia Louis-Desmarchais is an afro feminist director who aspires to give a voice to those we too often refuse to hear. Moving from documentary to fiction, she directed ‘’Rated X’’, a short documentary who won the Grand Jury prize at the Vox Feminae Film Festival and showcased in multiples festivals such as Regard, RVQC, Filministes as well as ‘’Tell me all about my body’’ and ‘’Urban’’. Her first fiction short film « Troubled Water » showcased at the FNC Film Festival, and VGIK International Student Film Festival.
Putting forward a unique and deep sensitivity in her artistic approach, Nadia is eager to dive into the professional sphere to write and carry out intimate scenarios which, according to her, give the cinema its universal power.
Miryam Charles is a Haitian-born director, producer and cinematographer. She has produced several short and feature-length fiction films. Her films have been presented at various festivals in Quebec and abroad. In 2022, her first feature film, Cette maison, was presented at the Berlinale, the AFI film festival, the Viennale, the TIFF Top 10 and was named one of Sight and Sound’s best films of the year. The same year, she released the short film Au crépuscule at the Locarno Film Festival. She is currently working on the films Le Marabout and L’île aux trésors.
Noncedo is a filmmaker that is interested in exploring the mosaic of the Black experience. A graduate of Concordia University’s Film Animation program, her most recent film 100 Ghosts, was in collaboration with NFB as a part of their Hothouse mentorship program for emerging filmmakers. Raised in Canada, eSwatini, South Africa, and Botswana, her multicultural upbringing influences her storytelling, blending the surreal and the serene.
Stefani Saintonge is a Haitian-American filmmaker, educator and editor who won the juried and audience award at BlackStar Film Festival for her short film, FUCKED LIKE A STAR. Her work has screened at several festivals and institutions internationally including Edinburgh International Film Festival, Ann Arbor Film Festival, Hammer Museum and the Smithsonian African American Museum. Her work as an editor has screened at Sundance Film Festival, Berlin International Film Festival, Tribeca Film Festival, Guggenheim Museum and PBS. As a member of New Negress Film Society, she co-created their annual Black Women’s Film Conference. She has received support from SFFILM, Jerome Foundation and Bronx Arts Council and served as an artist in residence with Haiti Cultural Exchange.
Dita Hashi (b. 1998) is an artist worker based between London and Paris. She works across moving image, installation and writing.
Filmmaker Martina (Judah) Attille is a British citizen and has lived in London since 1961. She graduated in 1983 from Goldsmiths University, London, where she produced her first film, By Any Other Name (1983). On graduation, Attille accepted the offer of a six-month placement with the independent production company, Large Door, through a Channel Four Television trainee scheme and trained with Production Manager Janine Marmot on the second series of Visions, a documentary series about world cinema, produced by John Ellis, Keith Griffiths and Simon Hartog.
Asmaa Jama is a Somali artist, poet and filmmaker based in Bristol. They are the co-founder of Dhaqan Collective, a feminist art collective. As a filmmaker, Jama was commissioned by BBC Arts to make Before We Disappear (2021), and by Bristol Old Vic to make The Season of Burning Things (2021). Jama is a Film London FLAMIN Fellow (2022) and a former resident artist at Somerset House Studios.
Gouled Abdishakour Ahmed is an artist, stylist, costume designer and writer. Their work explores themes of memory, belonging and futurity using self-portraiture and self-fashioning as a tool to challenge traumatic histories and interrogate how structures of power create meaning and ‘othering’ in the Horn of Africa. Their work has been shown widely at venues such as V&A Museum, London (2022); Alliance Ethio-Francaise, Addis Ababa (2021); and Beursschouwburg, Brussels.
Onyeka Igwe is an artist and researcher working between cinema and installation, born and based in London, UK. Through her work, Onyeka is animated by the question — how do we live together? — with particular interest in the ways the sensorial, spatial and non-canonical ways of knowing can provide answers to this question. She uses embodiment, archives, narration and text to create structural ‘figure-of-eights’, a form that exposes a multiplicity of narratives. Her works have been shown in the UK and internationally at film festivals and galleries. She was awarded the New Cinema Award at Berwick Film and Media Arts Festival 2019, 2020 Arts Foundation Fellowship Award for Experimental Film, 2021 Foundwork Artist Prize and has been nominated for the 2022 Jarman Award.
Annabelle Aventurin is an audiovisual archivist and film programmer. In 2022, she produced her first documentary essay, Le Roi n’est pas mon cousin (30’), programmed in around fifty film festivals.
Born and raised in Paris from Senegalese and Congolese parents, Johanna Makabi is a filmmaker, writer and producer. She also worked as an assistant on feature films such as Cuties by Maïmouna Doucouré and Winter Boy by Christophe Honoré. She was elected member of the board of Le Collectif 50/50 aiming for more equity and diversity in French cinema.
French of Antillan origin, Sarah Maldoror is a poet who strives to translate into images the cultural, social and political movement of negritude among others. A new visual and narrative syntax for a different identity. Her work began in the theater with the creation of the first black theater company – Les griots – and after studying cinema in Moscow, she joined international decolonization movements in Africa.
It attaches fundamental importance to solidarity between the oppressed, to political repression, and to Culture as the only means of uplifting a society.
Her work is resolutely humanist which celebrates the commitment of the artist and art as an act of freedom.
Regards Noirs est une initiative indépendante pour le cinéma Noir + du Sud global a Tio’tia:ke (Montréal)
PROGRAMME
Le monde est à elles
Nadia Louis-Desmarchais | 2023 | numérique | 21 mins (in French with English subtitles)
Currently, post-pandemic, one in two young people show symptoms of anxiety and depression. The World is ours is a film that gives the opportunity to six Montreal teenage girls to leave their urban environment for the first time to take part in a nature canoe-camping expedition. By presenting their struggles and small victories, the film poetically and luminously embraces their vulnerability, emphasizing in broad strokes the power of female sisterhood and therapeutic intervention by nature.
In an intervention cinema approach and seeking to democratize access to the outdoors for marginalized communities, the production of the film took on the responsibility of defraying the costs of the expedition for these six young women.
Chanson pour le Nouveau Monde
Miryam Charles | 2021 | numérique | 9 mins (in Haitian Creole, with English subtitles)
Following the disappearance of a man in Scotland, his daughter recalls words chanted before nightfall.
100 Ghosts
Noncedo Khumalo | 2022 | numérique | 1 mins (no dialogue)
A woman awakes to mysterious sounds—and confronts an astonishing surreal world summoned forth by her innermost fears.
Drei Atlas
Miryam Charles | 2018 | numérique | 7 mins (in German, Haitian Creole, with English subtitles)
A maid is suspected of murdering her former employer. Questioned by the police, she will reveal the existence of a supernatural power.
Fucked Like A Star
Stefani Saintonge | 2018 | numérique | 8 mins (in English)
A poetic meditation on women’s work and the dreamlife of ants set to the words of Toni Morrison.
SAMRAA
Dita Hashi | 2021 | numérique | 15 mins (subtitles in English)
SAMRAA is the grammatically singular, feminine form of the root ‘asmar’, the Arabic word for a contested shade of brown. The term is both a descriptor and a racial designation burdened with historical and social meanings. SAMRAA lives on in unsought nicknames, catcalls, intimacies and absences. It marks the borders of brownness/Blackness, displacing the latter and rendering it palatable.
Often used as a blunt instrument of political correctness, SAMRAA is the feminine figure distanced from the negative associations which cling to Blackness across the Arab world. SAMRAA is an experimental moving image work which explores this term as a site of both enclosure and endearment. Dita Hashi slices up Arabic pop music videos, live performances and archival footage across space and time, producing a new dissonant soundtrack made up of linguistic reiterations and derivatives.
SAMRAA evokes this contaminated kinship through sonic manifestations and pelagic yearnings. It defamiliarizes and recontextualizes the asmar’s loose ubiquity. Engaging with the provocations of scholar-critic Hortense Spillers and the poetry of Muhammad al-Fayturi and partly shot on the coast of the Arabian Gulf by essayist, poet, and the film’s creative adviser Momtaza Mehri, SAMRAA elaborates these chromatics of domination. It restages this space of sanitization and disavowal, one which catches the Black woman subject in its tangled net.
Dreaming Rivers
Martina Attille | 1988 | numérique | 30 mins (in English)
Dreaming Rivers (1988) is a film written and directed by Martina Attille for Sankofa Film & Video. In this allegorical work, actor Corinne Skinner Carter performs the role of Ms T, a black Caribbean woman in transition. Her children Daughter (Angela Wynter), Sister (Nimmy March) and Sonny (Roderick Hart) sit at her bedside and attend to the unspoken intimacies of history and transnational belonging.
The Season of Burning Things
Asmaa Jama & Gouled Abdishakour Ahmed | 2021 | numérique | 9 mins (subtitles in English)
The Season of Burning Things, is a moving-image collaboration between the two artists. Unfolding from the creators’ perspectives in the Somali diaspora, the piece takes the lead from East African mythos and Islamic imagery to explore mythmaking, Blackness; a ‘generation of ghosts’ and the transient spirit. Asmaa Jama is a Bristol-based Somali poet and visual artist. They are the co-founder of Dhaqan Collective, a feminist art collective, and were recently shortlisted for the Brunel African Poetry Prize and longlisted for the National Poetry Competition.
Gouled Abdishakour Ahmed is an Addis Ababa-based Somali visual artist, stylist, costume designer and writer. Their ongoing self portrait series One Day These Names Will Be Ours explores the gaps that exist within formal language in the understanding of gender expressions outside of the gender binary. Jama and Ahmed previously collaborated on Before We Disappear, an interactive film exploring hypervisibility/invisibility and surveillance.
No Archive Can Restore You
Onyeka Igwe | 2020 | numérique | 6 mins (in English)
The former Nigerian Film Unit building was one of the first self-directed outposts of the British visual propaganda engine, the Colonial Film Unit, stands empty on Ikoyi Road, Lagos, in the shadow of today’s Nigerian Film Corporation building. The rooms are full of dust, cobwebs, stopped clocks, and rusty and rotting celluloid film cans. Amongst these cans, a long-lost classic of Nigerian filmmaking, Shehu Umar (1976), was found in 2015. The films housed in this building are hard to see because of their condition, but also perhaps because people do not want to see them. They reveal a colonial residue that is echoed in walls of the building itself.
Taking its title from the 2018 Juliette Singh book, No Archive Can Restore You depicts the spatial configuration of this colonial archive, which lies just out of view, in the heart of the Lagosian cityscape. Despite its invisibility, it contains purulent images that we cannot, will not, or choose not to see. The film imagines ‘lost’ films from the archive in distinctive soundscapes, juxtaposed with images of the abandoned interior and exteriors of the building. This is an exploration into the ‘sonic shadows’ that colonial moving images continue to generate.
Except This Time Nothing Returns From the Ashes
Asmaa Jama & Gouled Abdishakour Ahmed | 2023 | numérique | 16 mins (subtitles in English)
‘Except This Time Nothing Returns From the Ashes’ (2023) is a collaborative experimental moving image piece made between Asmaa Jama and Gouled Ahmed. Shot in Addis Ababa, Ethiopia the film follows five ghostly, glitchy presences haunting a city. Inspired by a situated East African reading of the African photography studios of the past, the work explores the themes of self-portraiture, archiving and memory to consider who is excluded from institutionalized national narratives.
Combining poetry, experimental sound, animation, and collected familial photographs the film opens a portal to remembering those who would otherwise be forgotten, those systematically rendered peripheral. Using a magical realist lens, the film explores photography’s potential to build & corrupt canons. We harness the power of self-portraiture as an act of resisting these erasures.
Le Roi n’est pas mon cousin
Annabelle Aventurin | 2022 | 16 mm, DV Cam & Super 8mm vers numérique | 30 mins (in French and Guadeloupean Creole, with English subtitles.)
Bringing together poignant interview clips, excerpts of text and symbolic imagery, The King is Not My Cousin is a familial documentary essay centred around resilience, history, and sacrifice. Filmmaker Annabelle Aventurin chronicles her grandmother’s experience from Guadeloupe, a journey of resilience and sacrifice across the Atlantic. The pair revisit anecdotes and historical experiences whilst exploring the meaning of Caribbean identity on colonial impact. Passages of Karukera ensoleillée, Guadeloupe échouée (“Sunny Karukera, Stranded Guadeloupe”), a book written in 1980 by Aventurin’s grandmother, point to the harrowing reality and repercussions of slavery. The mixture of the fond yet wounding first-person narrative creates an authentic composition of sound and moving image.
Notre Mémoire
Johanna Makabi | 2021 | numérique | 12 mins (in French, with English subtitles)
Mbissine Thérèse Diop played the starring role in Ousmane Sembène’s landmark first feature, 1966’s Black Girl (La Noire de…). Today, she looks back on her experience as a Black actress in the 1960s.
Léon G. Damas
Sarah Maldoror | 1994 | 16mm vers numérique | 25 mins
Sarah Maldoror makes the voice of Guyanese poet Léon-Gontran Damas heard while drifting between the landscapes in which the writer lived, from Cayenne to Paris. His peers (Césaire, Senghor) bear witness to the poetic force of this founder of Négritude.
BIOGRAPHIES
Nadia Louis-Desmarchais is an afro feminist director who aspires to give a voice to those we too often refuse to hear. Moving from documentary to fiction, she directed ‘’Rated X’’, a short documentary who won the Grand Jury prize at the Vox Feminae Film Festival and showcased in multiples festivals such as Regard, RVQC, Filministes as well as ‘’Tell me all about my body’’ and ‘’Urban’’. Her first fiction short film « Troubled Water » showcased at the FNC Film Festival, and VGIK International Student Film Festival.
Putting forward a unique and deep sensitivity in her artistic approach, Nadia is eager to dive into the professional sphere to write and carry out intimate scenarios which, according to her, give the cinema its universal power.
Miryam Charles is a Haitian-born director, producer and cinematographer. She has produced several short and feature-length fiction films. Her films have been presented at various festivals in Quebec and abroad. In 2022, her first feature film, Cette maison, was presented at the Berlinale, the AFI film festival, the Viennale, the TIFF Top 10 and was named one of Sight and Sound’s best films of the year. The same year, she released the short film Au crépuscule at the Locarno Film Festival. She is currently working on the films Le Marabout and L’île aux trésors.
Noncedo is a filmmaker that is interested in exploring the mosaic of the Black experience. A graduate of Concordia University’s Film Animation program, her most recent film 100 Ghosts, was in collaboration with NFB as a part of their Hothouse mentorship program for emerging filmmakers. Raised in Canada, eSwatini, South Africa, and Botswana, her multicultural upbringing influences her storytelling, blending the surreal and the serene.
Stefani Saintonge is a Haitian-American filmmaker, educator and editor who won the juried and audience award at BlackStar Film Festival for her short film, FUCKED LIKE A STAR. Her work has screened at several festivals and institutions internationally including Edinburgh International Film Festival, Ann Arbor Film Festival, Hammer Museum and the Smithsonian African American Museum. Her work as an editor has screened at Sundance Film Festival, Berlin International Film Festival, Tribeca Film Festival, Guggenheim Museum and PBS. As a member of New Negress Film Society, she co-created their annual Black Women’s Film Conference. She has received support from SFFILM, Jerome Foundation and Bronx Arts Council and served as an artist in residence with Haiti Cultural Exchange.
Dita Hashi (b. 1998) is an artist worker based between London and Paris. She works across moving image, installation and writing.
Filmmaker Martina (Judah) Attille is a British citizen and has lived in London since 1961. She graduated in 1983 from Goldsmiths University, London, where she produced her first film, By Any Other Name (1983). On graduation, Attille accepted the offer of a six-month placement with the independent production company, Large Door, through a Channel Four Television trainee scheme and trained with Production Manager Janine Marmot on the second series of Visions, a documentary series about world cinema, produced by John Ellis, Keith Griffiths and Simon Hartog.
Asmaa Jama is a Somali artist, poet and filmmaker based in Bristol. They are the co-founder of Dhaqan Collective, a feminist art collective. As a filmmaker, Jama was commissioned by BBC Arts to make Before We Disappear (2021), and by Bristol Old Vic to make The Season of Burning Things (2021). Jama is a Film London FLAMIN Fellow (2022) and a former resident artist at Somerset House Studios.
Gouled Abdishakour Ahmed is an artist, stylist, costume designer and writer. Their work explores themes of memory, belonging and futurity using self-portraiture and self-fashioning as a tool to challenge traumatic histories and interrogate how structures of power create meaning and ‘othering’ in the Horn of Africa. Their work has been shown widely at venues such as V&A Museum, London (2022); Alliance Ethio-Francaise, Addis Ababa (2021); and Beursschouwburg, Brussels.
Onyeka Igwe is an artist and researcher working between cinema and installation, born and based in London, UK. Through her work, Onyeka is animated by the question — how do we live together? — with particular interest in the ways the sensorial, spatial and non-canonical ways of knowing can provide answers to this question. She uses embodiment, archives, narration and text to create structural ‘figure-of-eights’, a form that exposes a multiplicity of narratives. Her works have been shown in the UK and internationally at film festivals and galleries. She was awarded the New Cinema Award at Berwick Film and Media Arts Festival 2019, 2020 Arts Foundation Fellowship Award for Experimental Film, 2021 Foundwork Artist Prize and has been nominated for the 2022 Jarman Award.
Annabelle Aventurin is an audiovisual archivist and film programmer. In 2022, she produced her first documentary essay, Le Roi n’est pas mon cousin (30’), programmed in around fifty film festivals.
Born and raised in Paris from Senegalese and Congolese parents, Johanna Makabi is a filmmaker, writer and producer. She also worked as an assistant on feature films such as Cuties by Maïmouna Doucouré and Winter Boy by Christophe Honoré. She was elected member of the board of Le Collectif 50/50 aiming for more equity and diversity in French cinema.
French of Antillan origin, Sarah Maldoror is a poet who strives to translate into images the cultural, social and political movement of negritude among others. A new visual and narrative syntax for a different identity. Her work began in the theater with the creation of the first black theater company – Les griots – and after studying cinema in Moscow, she joined international decolonization movements in Africa.
It attaches fundamental importance to solidarity between the oppressed, to political repression, and to Culture as the only means of uplifting a society.
Her work is resolutely humanist which celebrates the commitment of the artist and art as an act of freedom.
Regards Noirs est une initiative indépendante pour le cinéma Noir + du Sud global a Tio’tia:ke (Montréal)
