Internationell Filmfestival 2012
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A Film by Florence Ayisi and Kim Longinotto
A film by Florence Ayisi and Kim Longinotto A WOMEN MAKE MOVIES RELEASE Women Make Movies • 462 Broadway, 5th Floor • New York, NY 10013 Tel: 212.925.0606 x 360 • e-mail: [email protected] • www.wmm.com Synopsis The only documentary selected for the 2005 Directors’ Fortnight in Cannes and a selection of the 2005 Toronto International Film Festival, SISTERS IN LAW is the latest film from internationally acclaimed director and festival favorite Kim Longinotto, co-directed by Florence Ayisi. Longinotto’s award-winning films include the 2005 Emmy-nominated film THE DAY I WILL NEVER FORGET, which premiered in the U.S. at the 2003 Sundance Film Festival, DIVORCE IRANIAN STYLE, DREAM GIRLS and SHINJUKU BOYS, among others. SISTERS IN LAW is a totally fascinating, often hilarious look at the work of one small courthouse in Cameroon. The tough-minded state prosecutor Vera Ngassa and court president Beatrice Ntuba are helping women in their Muslim village find the courage to fight often-difficult cases of abuse, despite pressures from family and their community to remain silent. With fierce compassion, they dispense wisdom, wisecracks and justice in fair measure—handing down stiff sentences to those convicted. A cross between Judge Judy and The No.1 Ladies’ Detective Agency, SISTERS IN LAW has audiences cheering when justice is served. In signature style, Longinotto’s unobtrusive camera captures an abundance of colorful characters, allowing their powerful stories to unfold effortlessly without need for narration. Both insightful and uplifting, SISTERS IN LAW presents a rare strong and positive view of African women—and captures the emerging spirit of courage, hope and possibility for change. -
An Analysis of Kim Longinotto's Documentary Filmmaking Using
Observational narratives and feminist practice: An analysis of Kim Longinotto’s documentary filmmaking using Rough Aunties (2008) as a case study. Shannon Rae Milojkovic 207504432 Submitted in fulfilment of the requirements for the degree of Master of Arts in Media and Cultural Studies in the Graduate Programme in the College of Humanities, University of KwaZulu-Natal, South Africa. DECLARATIONS I, Shannon Rae Milojkovic, declare that 1. The research reported in this thesis, except where otherwise indicated, is my original work. 2. This thesis has not been submitted for any degree or examination at any other university. 3. This thesis does not contain text, data, pictures, graphs or other information obtained from another person or source, unless specifically acknowledged as being so obtained. 4. This thesis does not contain any other person’s writing, unless specifically acknowledged. Where such written sources have been used, then they have always been acknowledged, either through the use of quotation marks or indented paragraphs and with accompanying in-text references that link to my bibliography. 5. This thesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged through in-text references and in the bibliography. Student Name: ______________________________ Signature:__________________________________ Date: ___________________ As the supervisor, I acknowledge that this research dissertation/thesis is ready for examination. Name: _____________________________________ Signature:__________________________________ Date: ___________________ ii Acknowledgments It was quite impossible to complete this project alone, and therefore, I would like to extend my deepest gratitude to the many people and organisations that provided various support: This material is based upon work supported financially by the National Research Foundation (NRF) and therefore I acknowledge the National Research Foundation who funded the commencing and completion of this investigation. -
2005, Florence Ayisi and Kim Longinotto, Cameroon
A Level Film Studies - Focus Film Factsheet Sisters in Law (2005, Florence Ayisi and Kim Longinotto, Cameroon) framed so they are both at eye level, suggesting Component 2: Global Filmmaking that he can be comfortable when talking to Perspectives (AL) her, in spite of her position of authority. • A steady long-take focused on Grace as Core Study Areas: the man explains how he found her. Key Elements of Film Form • Camera zooms in to reveal Grace’s Meaning & Response wounds on her back. The Contexts of Film • Close-up shots of Grace when the Prosecutor asks her questions. Specialist Study Area: • Steady camera movement from the Critical Debates (AL) Prosecutor to Grace and back again enables the dialogue between them to unfold. Filmmakers’ Theories (AL) • Whilst it is day, the lighting inside the office is dark, perhaps suggesting that Rationale for study electricity is being saved or scarce. • Sisters in Law offers opportunities to study a • Female judge, Beatrice Ntuba captured documentary film by female co-directors where walking stridently towards the camera, as she the narrative style and documentary techniques enters court at the beginning of the sequence empower the women and children it represents, highlighting her forthrightness and authority. in a developing West African community. • The judge is framed in the centre of the shot with the court attendees around her, standing to signify respect for her position. STARTING POINTS - Useful • The accused man is framed behind his Defence Sequences and timings/links lawyer at this point, whilst the latter’s confidence • Grace 35:36 - 39:20 in his abilities to acquit him are suggested by the way he stands and claps his hands. -
Women Make Movies
Women Make Movies 2015/16 Catalog NEW RELEASES CLOSING NIGHT DOCUMENTARY COMPETITION CLOSING NIGHT GALA FUSION CENTERPIECE WOMEN OF THE WORLD SEATTLE INTERNATIONAL INSIDE OUT OUTFEST FESTIVAL (WOW) LONDON FILM FESTIVAL FILM FESTIVAL TORONTO LOS ANGELES LGBT FILM FESTIVAL Alice Walker: Beauty in Truth A film by Pratibha Parmar US, 2013 | 84 min | Sale $395 | Rental $150 | # L15116 3 ALICE WALKER: BEAUTY IN TRUTH tells the compelling story of an extraordinary woman. Alice Walker made history as the first black woman to win the Pulitzer Prize for fiction for her ground- breaking novel, The Color Purple. Her early life unfolded in the midst of violent racism and poverty during some of the most turbulent years of profound social and political changes in North American history during the Civil Rights Movement. Mixing powerful archival footage with moving testimoni- als from friends and colleagues such as Howard Zinn, Angela Y. Davis, Gloria Steinem, Beverly “An intimate, exquisitely Guy-Sheftall, Quincy Jones, Steven Spielberg and rendered portrait of one of Danny Glover, ALICE WALKER: BEAUTY IN TRUTH the great artists of our time.” offers audiences a penetrating look at the life Ava DuVernay, Filmmaker & Founder of AAFRM and art of an artist, intellectual, self-confessed renegade and human rights activist. “Parmar’s powerful new film… masterfully presents Alice Walker’s revolutionary story as • Napa Valley Film Festival, Jury Prize for Best Documentary integral to American history.” • Qfest Philadelphia, Jury Prize for Best Documentary Heidi Hutner, Prof. of English & • QReel, Audience Award for Best Documentary Dir. of Environmental Humanities • African Diaspora Int’l Film Festival, Public Award for Best Film Directed by a Woman of Color Program, Stonybrook Univ. -
Cinema Solidarity: the Documentary Practice of Kim Longinotto
Swarthmore College Works Film & Media Studies Faculty Works Film & Media Studies Fall 2006 Cinema Solidarity: The Documentary Practice Of Kim Longinotto Patricia White Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-film-media Part of the Film and Media Studies Commons Recommended Citation Patricia White. (2006). "Cinema Solidarity: The Documentary Practice Of Kim Longinotto". Cinema Journal. Volume 46, Issue 1. 120-128. DOI: 10.1353/cj.2007.0008 https://works.swarthmore.edu/fac-film-media/40 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Film & Media Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. (Ursula Biemann, 1999). In his serious treatment of the live television feed, however, Padilha treads upon new ground in the denaturalization of the mediatized spaces that are themselves effects of the same rhythms of neoliberalism and globalization. The gift he offers is a multilayered vision of a future to come, democracy to come, justice. Its vehicle is a vigilant and clear assessment of the living present. Notes 1. Lynn Spigel, "TV's Next Season?" Cinema Journal 45, no. 1 (Fall 2005): 85. 2. Akira Lippit, "The Derrida That I Love," Grey Room 20 (Summer 2005): 85. 3. Bernard Stiegler and Jacques Derrida, Echographies of Television, trans. Jennifer Bajorek (Cambridge: Polity Press, 2002). 4. Personal conversation, Vancouver, B.C., March 2006. 5. Jane Feuer, "The Concept of Live Television: Ontology as Ideology," in Regarding Televi- sion: Critical Approaches: An Anthology, ed. -
A Film by Florence Ayisi and Kim Longinotto
A film by Florence Ayisi and Kim Longinotto "I consider SISTERS IN LAW one of the best documentaries of all times and Kim Longinotto, one of the great documentary filmmakers of our day.” -Stella Pence, Telluride Film Festival Publicity Contact Julie Whang Women Make Movies, 462 Broadway Suite 500, New York, NY 10013 212-925-0606 ex. 320 [email protected] Women Make Movies • New York • www.wmm.com Synopsis Winner of the Prix Art et Essai at the Cannes Film Festival and screened at more than 120 festivals worldwide, SISTERS IN LAW is the latest work from festival favorite Kim Longinotto and co-directed by Florence Ayisi. Longinotto’s other award-winning films include recent Emmy nominee, THE DAY I WILL NEVER FORGET, which premiered in the US at the Sundance Film Festival, DIVORCE IRANIAN STYLE, DREAM GIRLS and SHINJUKU BOYS, among others. SISTERS IN LAW is a totally fascinating, often hilarious look at the work of one small courthouse in Cameroon where two women determined to change a village are making progress that could change the world. The tough- minded state prosecutor Vera Ngassa and Court President Beatrice Ntuba are working to help women in their Muslim village find the courage to fight often-difficult cases of abuse, despite pressures from family and their community to remain silent. With fierce compassion, they dispense wisdom, wisecracks and justice in fair measure—handing down stiff sentences to those convicted. A cross between Judge Judy and The No.1 Ladies’ Detective Agency series, SISTERS IN LAW has audiences cheering when justice is served. -
Women Documentary Filmmakers As Transnational “Advocate Change Agents” Mujeres Documentalistas Y Su Rol Como Agentes De Cambio Transnacionales
DOSIER Lisa French* Women documentary filmmakers as transnational “advocate change agents” Mujeres documentalistas y su rol como agentes de cambio transnacionales Abstract | This article examines the role female documentary filmmakers have played as “change agents” who have provided significant advocacy for social, cultural, political and legal change. They have created global opportunities for women’s voices and experiences to be witnessed and heard. Documentary production is a site of media empowerment for women because the form promotes knowledge that supports gender equality and equity in both local and global contexts. Documentary productions are both a site of struggle and of women’s media activism. 15 Keywords | Change agents, documentary film, women, media activism. Resumen | Este artículo examina el papel que las cineastas documentales han desempeñado como “agentes de cambio” brindando una importante defensa del cambio social, cultural, polí- tico y legal. Han creado oportunidades globales para que las voces y experiencias de las muje- res sean atestiguadas y escuchadas. La producción documental es un sitio de empoderamiento de los medios para las mujeres porque la forma promueve el conocimiento que respalda la igualdad y equidad de género tanto en contextos locales como globales. Las producciones do- cumentales son, a la vez, un sitio de lucha y del activismo de las mujeres en los medios. Palabras clave | Agentes de cambio, documental, mujeres, activismo mediático. Introduction THIS ARTICLE examines the significant role female documentary filmmakers have played in globally advocating and mobilizing social, cultural, political and legal change. It delineates some thematic and representational interests and participa- tion of women documentary filmmakers as change agents. -
“Sisters in Law,” to Air on the Pbs Series Independent Lens
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit itvs.org/pressroom/ For the program companion website, visit pbs.org/independentlens/sistersinlaw/ “SISTERS IN LAW,” TO AIR ON THE PBS SERIES INDEPENDENT LENS Fascinating Look At Two Women Who Are Changing The Face Of African Justice “Positively soars…Who are these women, and can they please take over the world soon?” – Nathan Lee, The New York Times (San Francisco, CA) – SISTERS IN LAW, the acclaimed documentary by Kim Longinotto and Florence Ayisi, will have its broadcast debut on the Emmy® Award-winning PBS series Independent Lens, hosted by Terrence Howard on Tuesday, November 27, 2007 at 10:00 PM (check local listings). Winner of two awards at the Cannes Film Festival, including the prestigious Prix Art et Essai, SISTERS IN LAW is a fascinating, moving and often hilarious look at the work of one small courthouse in Cameroon where two woman determined to change a village are making progress that could change the world. The tough-minded state prosecutor Vera Ngassa and Court President Beatrice Ntuba are working to help women in their Muslim village find the courage to fight often-difficult cases of abuse, despite pressures from their family and their community to remain silent. We meet six-year-old Manka, who is covered in scars and has run away from an abusive aunt; Amina, who is seeking a divorce to put an end to brutal beatings by her husband; and the pre-teen Sonita, who has daringly accused her neighbor of rape. -
Reel Paradise and Sisters in Law Jennifer Malkowski Smith College, [email protected]
Smith ScholarWorks Film Studies: Faculty Publications Film Studies Summer 2007 Reel Paradise and Sisters in Law Jennifer Malkowski Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/fls_facpubs Part of the Film and Media Studies Commons Recommended Citation Malkowski, Jennifer, "Reel Paradise and Sisters in Law" (2007). Film Studies: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/fls_facpubs/2 This Article has been accepted for inclusion in Film Studies: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] Paradise. Episodic segments showing the difficulties the Reel Paradise Piersons have adjusting to island life dominate the film Director: Steve James. Producers: Steve James, Scott Mosier. Cine- —John contracts dengue fever and can’t find a reliably matographer, co-producer: P.H. O’Brien. Editor: Steve James. Music: sober projectionist, his wife Janet surfs the Internet Norman Arnold. © 2005 View Askew Productions. U.S. distribution: when she’s not socializing with her neighbors, and Wellspring Media. teenagers Georgia and Wyatt wait for the unpredictable bus to a school where theirs are the only white faces. In his focus on the Piersons rather than the Fijians, James Sisters in Law even follows storylines that have nothing to do with Directors: Florence Ayisi, Kim Longinotto. Producer, cinematogra- Taveuni or the screening project. When Georgia stays pher:Kim Longinotto.Editor:Ollie Huddleston.Music:D’Gary.© 2005 out late getting hickeys from local boys, Janet arrives to Vixen Films. U.S. distributor:Women Make Movies. pick up her rebellious daughter.