SAT. SEPT 28 - TUES. OCT 1, 2013 LAGOS

I am thrilled to welcome you all to this year's Lights, Camera, Africa!!! Film Festival and to the vibrant city of Lagos. This film festival is inspired by community, education and passion and is absolutely FREE to attend. I look forward to welcoming film buffs, creatives, students, families, busy executives, tourists and all lovers of life to Lights, Camera, Africa!!!...IT IS FOR EVERYONE! Our festival continues to thrive on excellent content and is poised to place the city of Lagos, as a gateway for the development and the exchange of new African and Nigerian cinema. This year's festival programme is packed with a mélange of wonderful things for Lagosians to sink their teeth into: 4 glorious days of films from the best African and Nigerian directors, discussions, talks, parties, workshops and a colourful African market selling Nigerian crafts, art and Lights, Camera, Africa!!! memorabilia. This year is our biggest festival yet and we are indebted to all our sponsors, partners, friends and festival venues for their invaluable belief and support in making this possible. To you our guests and general viewing public it's time to sit back, relax and enjoy Lights, Camera, AFRICA!!!

Ugoma Adegoke Festival Director/Producer

3 The Life House The Life House is an arts, creative content producer culture, wellbeing and with a focus on designing experience lifestyle centre based in and executing festivals remains Lagos, Nigeria whose across Nigeria. objective is to provide a dynamic, nurturing environment for We continue to serve the forward looking and creative expression. By community, in particular the producing events and progressive, discerning, unforgettable. programmes, The Life House conscious, culture and acts as a catalyst for cultural lifestyle aficionado. expression and education through entertainment and Adopting new and exciting exchange. spaces around Lagos, The Life House continues to Since 2010, The Life House reinforce its multi-arts, culture Since 2010, The has been at the vanguard of and wellness programmes in Life House has promoting a cultural Film, Literature, Wellness renaissance in Nigeria by (Yoga and Nutrition), been at the vanguard curating art, film, mixed Performing Arts (Music, of promoting a media, music and theatre Theatre, Poetry), Public exhibitions. We work with Media (In Conversation), cultural renaissance in and support a diverse Visual Arts (Exhibition and Nigeria by group of musicians, writers, Education), Fashion and performing artists, film- Design. curating art, film, makers, photographers and mixed media, music academics. The Life House experience and theatre remains dynamic, forward- exhibitions. In June 2013, The Life House looking and unforgettable. evolved into a travelling lifestyle concept and www.thelifehouselagos.com

5 6 7 LIGHTS, CAMERA, AFRICA!!! 2013 FILM FESTIVAL - ‘GREAT MIGRATIONS’

The Life House, Lagos proudly presents the 3rd Lights, Camera, Africa!!! Film Festival together with the African Film Festival, New York and Nadia Denton©, London.

This year the Lights, Camera, Africa!!! Film Festival is scheduled to hold again over the Independence Day holidays from Saturday, 28 September to Tuesday, 1 October 2013 with the theme, 'Great Migrations'.

In the ever- shrinking 'global village' migration remains as strong a current as it always was. However, the age of technology has made it faster, more urgent and presented itself to us in more forms than one. We transfer thoughts, ideas, information, data, emotions and people more swiftly than ever before. The outcome is a changing worldscape. Ideas that were once innovative and implausible are now accepted and established. These great migrations, mirror our constant journey through life and all its facets and can be recounted loudly with time and physical distance, or subtly with personal growth and cultural evolution.

8 9 Lights, Camera, Africa!!! 2013 will feature a diverse range of African cinema and this year will include novel genres. Inspired by the theme 'Great Migrations' our 2013 film festival will explore the various aspects of migration and movement of African people, culture, art and existentiality.

The Lights, Camera, Africa!!! 2013 Film Festival will highlight and explore the migrations and movement of people to and from Africa; the social dynamics that Africa has witnessed in post colonial years; the dynamic evolution of the continent's art expressions particularly in film, music and literature and the general shifts in thought, philosophy, politics and our communal and individual identity as Africans.

Continuing to celebrate and propagate a rich African heritage through film, The Life House through its Lights, Camera, Africa!!! Film Festival this September promises to deliver to its enthused audience and sponsors a robust programme of educational talks and workshops; entertaining concerts and fairs and an even more diverse OUR PARTNERS pool of riveting films in multiple genres including but not limited to feature, animation, experimental and Our 2013 Film documentary. They hold our hands; provide moral, financial, Festival will strategic and logistical support and we love them! Our pioneer partnership with the acclaimed 20-year old explore the various African Film Festival, New York (AFF) continues to blossom and with a 4-day programme planned this year (our aspects of migration longest festival yet), The Life House is especially thrilled to and movement of present Lights, Camera, Africa!!! Film Festival to the people African people, of Nigeria, Africa and indeed the entire world in 2013. This year, The Life House proudly announces new partnerships culture, art and and exchange opportunities with Nadia Denton© of the existentiality. United Kingdom.

Lights, Camera, Africa!!! continues to showcase the brightest ideas in African cinema; promote the most promising film talent from within Africa and in particular the work of local filmmakers in Nigeria. 10 PARTNERS

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12 13 FIRST BANK OF NIGERIA NOLLYWOOD WORKSHOPS

Branding initiatives in First Bank of Nigeria Plc (First Bank) are to strategically position the Nollywood Workshops is an alliance of individuals and organizations that see First Bank Group as a national icon and an international player in the financial services opportunity in the energy and influence of independent filmmaking. Through cross- industry. cultural collaborations to build the technical capacities of filmmakers, we aim to serve as a catalyst for elevating production values, priming the powerful engine of After a century of operations, the Bank commenced the “Century II” business Nollywood. By bringing filmmakers together with local and international development transformation project in 1996, which was revalidated in 2001 with the theme, “Century organizations, the Nollywood Workshops creates partnerships to identify key issues and II – The New Frontier”. use the power of film as a driver for positive social change in Africa.

The Bank marked in 2004 its 110 years of existence during which it pioneered the art and science of modern banking in the country, becoming Nigeria’s biggest and most The Nollywood Workshops support growth and spark collaboration in the Nigerian film prosperous financial services group. industry, and with African and international development organizations. Designed by filmmakers for filmmakers, we celebrate the spirit of independent filmmaking in Africa, First Bank seized that opportunity to fundamentally transform its brand and unveiled on while supporting the desire to be a force for positive change. Tuesday, April 27, 2004 a new chapter in its illustrious history: a new corporate identity, logo and official colours. www.nollywoodworkshops.org The launch was the culmination of the Bank’s strategic re-engineering process, embarked upon to usher the Bank into its second century of operations. VOLUNTEER IN NIGERIA www.firstbanknigeria.com Volunteer in Nigeria is a youth development project helping organisations find game changing helping hands to enable them make maximum social/economic impact at RADI8 NO charge for our fast & convenient service. Organisations contact us for training programmes, events, corporate social responsibility and other social intervention Radi-8 is managed by Toni Kan and Peju Akande. Radi-8 has expertise spanning projects, short & long term staffing needs, leave/maternity cover, etc. Communications, PR, Advertising, Graphics, Design, Events planning & Activation, Branding and Promotions for start up and off- shoot brands. Some organisations that have partnered with us include Thistle Praxis Consulting (AR- CSR Conference), AITEC Africa (Banking and Mobile Money Conference), 360di Ltd. Members of Radi-8 have worked individually and collectively for Zenith Bank, Visafone, (SMEet Conference), LEAP Africa, Excel Charity Foundation, the Lagos World Record Ministry of Information, The Lagos State Government, Ministry of Health, PTF, Shehu Teeth Brushing Project, Promenade Youth Initiative, etc. Umaru Yar'adua Campaign Organization, Donald Duke Campaign Organisation, Bank PHB, DDB, Tanus, Eminent, SO&U Saatchi and Saatchi, TBWA, Cyberspace, NEXT, Aart of www.volunteerinnigeria.org Life Foundation,Pablos Liquor, PPA, Lagos Island Millenium Group on the Environment, Chike Okoli Foundation, Seplat petroleum, Heinrich Boll Foundation amongst others.

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14 15 CONSTANT CAPITAL PARTNERS LTD AFRICAN FILM FESTIVAL

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16 17 stories, and the CCP seeks to fill this void. There also are very few female filmmakers in Sierra Leone, women mostly being seen in front of the camera, and the CCP’s three female students are determined to help create more FILM NEWS... space for female filmmakers and women’s voices in film.

Pre-production training has recently ended, and students are excited to move into the production phase. During the pre-production section, In celebration of Lights, Camera, Africa! 2013 Film students produced video blogs and filmed a series of short interviews about Festival and regional (or local) filmmaking, the Sierra citizens’ views of the constitutional reform process and the challenges of the Leone Cultural Conservation Program is pleased to educational system in Sierra Leone. announce the official start of its documentary film training programme! The official start of the documentary film training programme was preceded the CCP’s intensive four-day documentary film workshop in December In the spirit of preserving and promoting Sierra 2012, organized around the theme “doing more with less.” The workshop Leone’s cultural wealth, the Cultural Conservation was conducted by Nigeria’s Femi Odugbemi, an award-winning filmmaker, Program (CCP) provides in-depth training to aspiring writer and photographer, who facilitated the ten participants in shooting documentarians and engages these young artists in and editing a short documentary film about political, economic, and the creation of programs for the local community. cultural progress in Sierra Leone. The film, entitled From the Ashes: Story of a Created in 2011 by African Film Festival, Inc., in New Sierra Leone, highlighted Sierra Leone’s recent successful elections partnership with the Sierra Leone National Museum, and was featured at the 2012 Freetown Film Festival. The workshop was a CCP programs are designed to strengthen the local unique collaboration between beginning and advanced professionals audiovisual industry and create further platforms for alongside film students, and the resulting film is notable for profiling not the Sierra Leonean filmmakers, with the greater goal of struggles of Sierra Leone, as many films do, but rather the potential of the contributing to the revival of traditional culture, local country for peaceful political progress and great economic growth based artistic approaches, and spaces for education and on the values of the leadership generation and also the youth. From the dialogue. Ashes: Story of a New Sierra Leone is available for viewing on the CCP website. After two years of audio and photography trainings, the CCP documentary training program moved into In the future, the Sierra Leone Cultural Conservation Program hopes to the filmmaking phase in May 2013, with eight extend its training programme to more young people in Sierra Leone who students (five men and three women) being trained are passionate about filmmaking and using film to preserve Sierra Leone’s in all aspects of documentary filmmaking. With no culture, educate and raise awareness. To learn more about the programme film schools and few established filmmakers focusing or see how you can get involved, please email us at [email protected], or visit on documentary films, there remains a significant the CCP website at ccp.africanfilmny.org. gap for Sierra Leoneans to tell and preserve their own

18 19 FESTIVAL VENUES

THE WHEATBAKER 4, Onitolo Road, Ikoyi, Lagos.

SOUTHERN SUN IKOYI 47, Alfred Rewane Road, Ikoyi, Lagos SPECIAL GUESTS

FREEDOM PARK Old Prison Ground, Broad Street, Lagos

THE MOORHOUSE 1, Bankole Oki Street, Ikoyi, Lagos

BRITISH COUNCIL 20 Thompson Avenue, Ikoyi, Lagos

20 Bond Emeruwa started his career in television and film after a three-month intensive writing workshop organized by the Nigeria Television Authority and facilitated by the BBC in 1985.

Emeruwa went on to write and co-direct a series of award-winning movies, starting with the ground-breaking Mortal Inheritance, a love story involving a woman suffering from sickle cell anaemia, which won ten awards at the Nigeria Movies Awards in 1997.

As a director, he has worked on various developmental movies, such as Amina, shot in Jos and the town of Ogwashukwu in Delta State. Others include Checkpoint, a movie which earned him the Best Nollywood Director title at the 2007 Afro Nollywood Awards in London and got him shortlisted for the 2008 African Movie Academy Awards (AMAA).

Concerned about social ills, Emeruwa's 2008 film BOND EMERUWA Freedom in Chains, made with the support of the United Nations Population Fund, puts the spotlight on BRANWEN OKPAKO violence against women. Screened at FESPACO Branwen Okpako was born in 1969 in Lagos, Nigeria the daughter of Uhrobo 2009, the film has become pharmacologist David and Welsh librarian Kathleen. She was raised on the campus of central to an Africa-wide the University of Ibadan with her younger brother Edore. She later studied Political anti-violence campaign. Science in England, followed by studies in Film Direction at the German Film & Television Meanwhile, Emeruwa's Academy Berlin (dffb). latest film, Hidden Hunger, sounding the alarm on Her films include: the shorts PROBE (1992), VORSPIEL (1994), LANDING (1995), malnutrition is now in SEARCHING FOR TAID (1997) and LOVELOVELIEBE (1998), and the features DIRT FOR postproduction. DINNER (DRECKFRESSER, 2000, winner of the Bavarian documentary film prize The Young Lion and First Prize at the Dubrovnik Documentary Film Festival in 2001), VALLEY A Nollywood veteran, OF THE INNOCENT (TAL DER AHNUNGSLOSEN, 2003), and THE EDUCATION OF AUMA Emeruwa has presided OBAMA (DIE GESCHICHTE DER AUMA OBAMA, 2011) winner of the AMAA award 2012 over the Directors Guild of for best diaspora Documentary, Africa International Film Festival Audience award 2011 Nigeria and chaired the and the Pan African Film festival Los Angeles Festival Founders award best Coalition of Nollywood Documentary 2011. Guilds and Associations. He is a TED Global fellow. She is currently directing the theater work "Wearing Black" by Elizabeth Blonzen at the He is also a proud husband Ballbaus Naunynstr, Berlin. and father.

22 23 Ré Olunuga is an orchestral composer and founder of Symphonica 7, an aural design Nadia Denton, a Briton of company based in London, New York and Lagos. He is also founder of The Lagos Jamaican origin, has worked Philharmonic. For the last two years he has been auditioning and training musicians for in the film industry in the UK the orchestra, which will begin its first season early 2014. Over the last decade he has and abroad for the past 10 created and directed music and sound for theatre, film and fashion campaigns. His years. Her commitment to film award-winning work has been performed all over the world and used in international has taken her from helping campaigns by Maki Oh, The Etisalat Prize for Literature, Genevieve Magazine and exhibit, market and distribute Mercedes Benz. movies to writing books and working as a public relations consultant. In 2011, The Life House hosted an Denton, who has shared her experimental music expertise at workshops, is also project by Ré entitled the author of The Black British 'Sense Lounge'; a Filmmaker’s Guide to Success: project born out of a Finance Market and Distribute chance meeting with Your Film (2011). She is other musicians at currently working on The The Life House that Nigerian Filmmaker’s Guide to led to the formation Success: A New Chapter in of an impromptu Nigerian Cinema, which turns its focus to Africa's most prolific band and the film industry. performance of a

new body of work Ré Denton, which founded the wrote specifically for Black Filmmaker (bfm) Film the show. Club, a monthly platform for Black World Cinema at the Most recently he Institute of Contemporary composed music for NADIA DENTON Arts, in 2003, is a global the upcoming album authority on black film. This from acclaimed year alone, she's spoken at an Institut Francais programme at the Cannes Film Festival, international jazz the Judge Cambridge Business School African Investment Conference and the Lille singer SOMI, entitled Black Film Festival. RE OLUNUGA 'The Lagos Music Salon'. Before collaborating with The Life House for the third edition of the Lights, Camera, Africa!!! Film Festival in Lagos, Denton had been involved with the London Brazilian Film Festival, the Trinidad & Tobago Film Festival, the Africa Diaspora Film Festival, the UK Jewish Film Festival, the Birds Eye View (Women’s) Film Festival, the East End Film Festival, the Portobello Film Festival and Images of Black Women Film Festival, among others.

24 25 As principal consultant at Kairos consulting, Debie Mangut recognizes that media is an exceptionally powerful tool that influences national culture, social development, corporate behavior and political ideologies.

Even before graduating from the Department of Communications at the University of the Nations, Miss Mangut had been involved with diverse creative projects and created new paradigms with content and digital entertainment. She started off as a reporter with Echoes Newspapers in Cape Town, then served as an assistant programs manager at Radio CCFM. Before joining CCFM, she headed the School of Writing for mass Media at the U of N, Cape Town.

Mangut is a young media consultant who has mastered the art, style and digital dimensions of modern media and consults for the Nigerian government on film issues. She has served as a film and media consultant to the National Film & Video Censors Board Mangut currently consults for the Nigeria Film Corporation and is producer, Distribution & Marketing for the just concluded film ‘76. DEBIE MANGUT

26 DIRECTORS TALK

We caught up with some of this year’s featured directors to discuss their art and work in fiilm and their inspirations. Enjoy these riveting interviews and statements.

28 Stuart Hall was a kind of rock star for us; a pop icon with brains whose very iconic JOHN AKOMFRAH, OBE presence on this most public of platforms - television - suggested all manner of Director, The Stuart Hall Project (2013) ‘impossible possibilities’. By just being there in our bedrooms and living rooms, he opened up pathways into that space that he has referred as the place of ‘the I’ve been making projects on memory for a while now, but this one feels like the unfinished conversation‘, that space in which the dialogue between us and the one I have been ‘preparing’ for a very long time indeed, possibly all my working external world begins, that place of identity. With him and through him we begun life. In our teenage years, there is always at least one person we meet or see to ask the indispensable questions of that conversation: who are we, what are we perform or watch on the screen who in that first encounter leaves such an and what could we become. indelible mark on our soul that we end saying to ourselves: “when I grow up, I want be just like that; I want to be that cool, that hip, that confident, that compelling”. Throughout the making of The Stuart Hall Project, I’ve thought a lot about this questions of identity and of our ‘debt’ to this man. I’ve also thought a lot about Of course we always change the poignancy of the eulogy delivered at the funeral of Malcolm X by Ossie Davis, our minds later since this is especially the section where Davis talks about “the presence of his (Malcolm’s) after all our ‘growing up’ memory”. And the section I find the most affecting in that eulogy, the one I years. But whatever reasons returned to again and again to the point where it became the organizing motif for w e s u b s e q u e n t l y g i v e this piece, comes at the end when Davis says “.. in honoring him, we honor the ourselves for our change of best in ourselves“. mind, for that shift in our thinking, secretly we also The presence of memory. What a wonderful way of describing all our lives. And know that it usually coincides for me, the question of ‘honoring’ begins there; with memory, with uncovering the with the growing realization stems of memory, the ghosts of history, sifting through the debris and detritus of that we don’t have the talent past events for traces of the phantoms. It begins with searching and rummaging o r t h e b r a i n s o r t h e through all those itineraries, those collective unfinished conversations that tell us wherewithal to become that something about how a very bright young Rhodes scholar from colonial Jamaica, person. Once we accept we became ‘Stuart Hall’. are never going to be exactly like our heroes, something In understanding him and the movements he shaped and was shaped by, we very interesting begins for us begin to understand something about how we became what we are: the Suez because the initial burst of enthusiasm they sparked off, the charismatic example crisis, the Hungarian revolution , the anti- colonial project, the Vietnam war, the they offered about the purpose and direction one’s own life could take, these civil rights movement, the new Left, feminism, class politics, cultural studies. All remain with you, moulding and shaping one’s expectations and, crucially, what these interventions, these unfinished conversations. ‘deals’ we end up making with this unfolding thing called life. And, in honoring him, we honor the best in ourselves. For many of my generation in the seventies, Stuart Hall was just such a figure. In those heady, mono - cultural days, he was one of the few people of colour we Amen to that. saw on television who wasn’t crooning, dancing or running. I loved all the athletes and singers and dancers too but when you are a black teenage bookworm in seventies West London, let’s just say a public intellectual of colour disseminating ideas on television offered other more immediate compensations.

Words culled from the director's statement for the film, The Stuart Hall Project; courtesy Smoking Dogs Films

30 31 MOUSSA TOURE important to show that African women are also capable of making choices, of carrying Director, La Pirogue (2012) out brave acts, of taking risks like men. I certainly didn't want to show a “cliché ” image of African women grinding corn. Despite the fact we don't see much of the woman, her HOW DID THE FILM COME ABOUT? presence counts for a lot because she's a striking character. It was born out of a very simple and apparent observation: in Senegal, each family has at least one member who has headed off in a boat to try their luck in Europe. Our YOU PAY A GREAT DEAL OF ATTENTION TO FACES AND SKIN TEXTURE people grow up with the horizon in the distance, but the only way for the younger ones In my career, I have become very aware about the importance of working with faces. to reach it is by leaving. Half of the population is under 20, and there is no future for them. Senegal is a very open country, and that means its people are very outward looking. One day, I discovered that my mechanic – a very young man – had also tried his luck. Faces never lie, so it seemed indispensable to film them. And that was even more the He got away by boat, but was sent back home two months later. When I met him, we case in the pirogue, where the limited space made the proximity of the characters talked about it in great detail and I noted down some of the details of his story, which even more significant. So that was a desire I made clear very early on with my director of subsequently served as inspiration for the film. photography. We also wanted to show the profile of the characters, opting to frame them up in succession in order to accentuate the notion of the horizon towards which THE FILM OPENS WITH A WRESTLING SEQUENCE they are all reaching out. I was inspired to do this by Gilles Groulx, a Canadian THAT MAKES ONE THINK OF A KIND OF documentary maker who had described this type of photography to me. TRANCE. Wrestling will be the theme of my next film. It's WHAT DIFFICULTIES DID YOU HAVE IN MAKING THIS FILM? the most popular sport we have. It is a kind of I only received authorisation to shoot two weeks before we began, despite having mirror held up to the Senegalese people, submitted my request six months previously. My first assistant director then made a whether they are modern or traditional, request in his name and he was granted permission within two weeks! It is true that in whether they are tempted by Western Senegal, I have a certain reputation and when I say exactly what I want, the authorities modernity – like the young man with his get scared. iPhone – or whether they remain anchored in religion. And Senegalese wrestling is WHAT FORMAT DID YOU SHOOT ON? combined with trances, a phenomenon that I am one of the first Senegalese people to shoot on digital, despite having been molded has an important place in our culture by 35mm. But that changed nothing in the way I made the film. I consider myself a because although we are Muslims for the filmmaker rather than a technician, o such an extent that the type of camera or the most part, we are also animists. I wanted to medium are secondary to me. start the film with that sequence to place Senegalese man at the very heart of the WHAT DID YOU THINK WHEN YOU SAW THE FINISHED FILM? story. We are all wrestling with something. I wondered how we can live in such a climate. That's the question the parents back hom aske themselves. They know there's nothing they can do to help their children , that THERE IS A STOWAWAY WOMAN AMONG THESE MEN. TELL US ABOUT HER. there is no future for them in the country, and there's no point in trying to hold them back. I wanted to demonstrate a certain ambiguity. Deep down, men know that heading off I also watched my wife cry like I've never seen her cry before. I was almost ashamed to in a boat and crossing the ocean is extremely perilous and bordering on suicide. That's have moved her so deeply. In a way, it was a kind of sufferance making this film. I have why they don't let their wives go with them. But there is an important issue with women. put all my energy, all my truth and emotions in this film. It was something I had to do. They have no future in Senegal and might also want to run away to Europe. It seemed

words culled from La Pirogue's Cannes Film Festival official press kit 32 33 AND WHAT WAS SINGLE GREATEST REWARD TO MAKING THIS FILM? The reaction of the people who see it.

WHAT DO YOU HOPE PEOPLE TAKE AWAY FROM YOUR FILM? BRANWEN OKPAKO A widened curiosity about Okigbo and his beautiful poetry. Director, The Pilot and The Passenger (2013) WAS THIS A EMOTIONAL FILM TO MAKE? Very much so in so many ways.

WHERE DID YOU LEARN FILMMAKING AND HOW WOULD YOU DESCRIBE YOUR FILM MAKING STYLE? I am a graduate of the dffb (Deutsche Film and Television Academy in Berlin). I was a WHAT WAS YOUR FIRST ENCOUNTER WITH CHRISTOPHER OKIGBO AND WHAT MOVED YOU contemporary of three important African woman filmmakers; Tsitsi Dangaremba, TO MAKE A FILM ABOUT HIM? Wanjiru Kinwanjui and Auma Obama. Our studies were unique and thorough and I I was approached by a production company in Belgium who wanted a film made would define my filmmaking style as personal. Even though I treat subjects of wider about Christopher Okigbo but the funding never came through. In the end social and historical interest I try to look for answers to questions I personally need to I made the film on my own with the support of my partner Jean Paul Bourelly. address.

WHAT MADE YOU FEEL THAT THIS STORY NEEDED TO BE SHARED? WHAT ARE YOUR THOUGHTS ON NOLLYWOOD AND WHICH OTHER NIGERIAN FILM Christopher Okigbo's life spans a very important part of Nigerian history. He balanced MAKERS OR CREATIVES WOULD YOU LIKE TO COLLABORATE WITH? within him, in a most elegant way, the various cultural and religious elements that As a winner of the AMAA award in 2011 for my film THE EDUCATION OF AUMA OBAMA I influenced him and managed to retain his integrity to the death. His poetry was feel very much a part of the Nollywood community and proudly so. amazing and his life was poetry. Peace mentioned the idea of a biographical portrait of Nneka the other day when we met at the Toronto International film festival that idea has stayed with me. WHAT INFORMED YOUR CHOICE OF TITLE FOR THE FILM? The Pilot and the Passenger has two reference points. Firstly it refers to the two roles we YOUR FILM FEATURES A STELLAR COLLECTION OF GLOBALLY RESPECTED THINKERS AND all play in life; one as the pilot of our own destiny and the other as a passenger in history carried by events outside our control. Christopher was both pilot and passenger in a INTELLECTUALS. HOW DIFFICULT WAS IT TO GET THEM 'INVOLVED"? most powerful way. Secondly the reference is also to Palinerus the pilot who appears in A: Not really, they were all keen to talk about Christopher Okigbo who they knew one of Christopher's poems. Palinerus is an ancient mythological character who led his personally or who they were contemporaries of. people to freedom but was sacrificed by the gods on the way. I wrote a short screenplay for Chimurenga magazine in 2004 telling the story of Palinerus and an AFTER THE LIGHTS, CAMERA, AFRICA!!! FILM FESTIVAL, WHAT'S NEXT FOR THE PILOT AND THE imaginary Christopher-like character taking a flight to Lagos and that is where the idea PASSENGER? of these two roles began to grow. I have no idea. As I said to you before the film has only been screened once before as part of the Christopher Okigbo conference in Harvard back in 2007. Because of lack of IF YOU COULD NARROW IT DOWN TO JUST ONE THING, WHAT WAS THE BIGGEST funds it was never really mastered. I am in the editing room right now doing finishing CHALLENGE IN MAKING THE FILM? touches for you screening. Great to get the chance to share the work. Money is a big one but timing is also a critical factor.

34 35 WHAT WERE PEOPLE'S REACTIONS WHEN YOU TOLD THEM YOU'D BE DOING A FILM ABOUT CHINONYE CHUKWU AN ALASKA-RAISED NIGERIAN (ESPECIALLY THOSE WHO DO NOT KNOW THAT THAT'S Director, Alaskaland (2012) YOUR STORY IN A WAY)? The reactions have been very positive. Many folks have told me that my perspective, this exploration of 1st generational identity, is one that needs to be explored a lot more in media. 'Identity' is a very complicated, loaded puzzle.

WOULD YOU SAY THIS THE MOST PERSONAL OF YOUR FILMS? Definitely. My most personal so far. PEOPLE SAY THERE ARE NIGERIANS EVERYWHERE, BUT FARAWAY AND FREEZING ALASKA IS PRETTY OUT THERE. COULD YOU SHARE HOW THAT CAME TO BE A HOME FOR YOU AND CAN WE EXPECT A MADE-IN-NIGERIA CHINONYE CHUKWU STORY? WHAT WILL IT TAKE? YOUR EXPERIENCE OF LIVING THERE? Of course! One of my dream projects takes places in Nigeria. It'll take patience, Sure. My dad is a petroleum engineer and my mom is a chemical engineer, so their resources, and the perfect timing. work brought them to Alaska, a state that is one of the largest oil contributors in the United States. IF YOU COULD NARROW IT DOWN TO JUST ONE THING, WHAT WAS THE BIGGEST CHALLENGE IN MAKING THE FILM? WHAT MADE YOU DECIDE THAT YOUR FILM SHOULD BE SET THERE ALSO? HOW DO Seeing the project through completion, exhibition and distribution. Independent NIGERIANS REACT WHEN YOU SAY YOU ARE BORN AND RAISED IN ALASKA? filmmaking is much more than just creating work; you really have to do just as much work I was actually born in Nigeria and lived in Fairbanks, Alaska from the time I was 6 years (or more!) to get it out there and make sure it is seen. old to 18 years old. So I've had such an anomaly of a life that I thought it would be interesting to share it with people who never thought such a dichotomous identity was AND WHAT WAS SINGLE GREATEST REWARD TO MAKING THIS FILM? possible. Seeing my native Igbo people on screen, speaking the Igbo language. We just don't see that in Western cinemas! You know, honestly, when I remind Nigerians about the oil in Alaska, they instantly understand how I could be raised in Alaska! AFTER THE LIGHTS, CAMERA, AFRICA!!! FILM FESTIVAL, WHAT'S NEXT FOR ALASKALAND? We have secured distribution with New World Distribution, so we will be releasing the film HOW DO THOSE REACTIONS MAKE YOU FEEL? on digital and broadcast platforms later this year. I don't feel any particular way about the reactions. I understand them. I mean, Nigerians in Alaska??

36 37 Confusion Na Wa was set originally to film in Jos, Plateau state which for years was KENNETH GYANG peaceful and the poster child of communal living in Nigeria with its cultural diversity. Director, Confusion Na Wa (2012) Unfortunately the tranquillity of that city was broken down then by a regular outbreak of violence.

The setting of Confusion Na Wa is in an unnamed fictitious city with resemblance to Jos, that's why we started the film with the ethnic tension between a hausa dude and an igbo guy who is trying to respect the corpse of a dead hausa bike rider.

WHAT MADE YOU DECIDE TO DO CONFUSION NA WA? We originally set out to film in Jos unfortunately when principle photography was to I've always been a fan of World Cinema and there were a lot of World Cinema films commence, another bout of restlessness made production shift to Kaduna, a nearby making waves then- Amores Perros by Alejandro Gonzalez Innaritu, Fernando city that was at the time enjoying its years of relative peace after it being a flashpoint of Meireless' City of God and of course Y'tu Mama Tambien helmed by Alfonso Cuaron. These are all films capturing the essence of their environment, Tom and I used that violence years back. element sprinkling it with the unfairness of life and how simple decisions or things we do can have a ripple effect on other people in our environment. When principle photography was to commence, another bout of restlessness made production shift to Kaduna, a nearby city that was at the time enjoying its years of THE 24-HOUR TIMEFRAME SEEMS TO ADD THE MELODRAMA. TELL US MORE ABOUT THAT relative peace after it being a flashpoint of violence years back. It took the military some high-handedness before the violence was quelled and we were able to shoot CHOICE. there. Let's face it, 24-hours in the life of an average African is always interesting and full of encounteres especially when you live in cities in like Nairobi, Lagos, Kinsasha or even YOU LEARNED FILMMAKING AND SCREENWRITING IN NIGERIA AND BURKINA FASO. Kano. I remember coming to Lagos to get a visa to Berlin and I had to be on a bike to WHAT ARE THE MAIN DIFFERENCES, SIMILARITIES IN THE TWO FILM TRADITIONS. HOW DID beat the morning traffic. I was on the bike and there were all these folks trying to check EACH INFLUENCE YOUR CINEMATOGRAPHIC STYLE? tickets and my bike guy was trying to dodge and those guys kept bearing down on us I learnt my filmmaking primarily in Nigeria at the National Film Institute and was sent from and we kept trying to evade them until we fell and I was injured and it almost cost me there to take some writing courses in Burkina Faso. There, I also watched a lot of African my interview. That's how these cities are, you wake up in the morning, you think you're films which I couldn't have access to in Nigeria. Those films woke up the subconscious running a parallel life then something may occur which could affect you in either a awareness of the African in me and some of the problems we need to deal with. I mean good way or a bad way and that was what we wanted to capture in the film in that you have to look at films like Guelwaar to understand what I am saying. They mostly do given timeframe. in dusty and rural Africa but I have tried fusing my ideas with modern Africa which is what you'll see in Confusion Na Wa. PLEASE TELL US ABOUT THE CITY YOU CHOSE TO FILM YOUR MOVIE IN AND WHAT IT MEANS In summary, I would honestly say I learnt a lot about character and story development TO YOU, AND ADDS TO YOUR FILM. from the masters Gaston Kabore was able to assemble to come and take us in I hail from Jos and I have a huge affection for the city. As far I am concern and a lot of Masterclasses. Coming back, I fuse the character and story development of the Nigerians and foreigners too, Jos is the ideal place to always be. francophone countries and the fast tempo of my immediate environment.

38 39 AND WHAT WAS SINGLE GREATEST CHALLENGE AND THE SINGLE BEST REWARD TO MAKING THIS FILM? The single greatest challenge is getting the right actors- star names who will believe in the project be part of it and the best reward for it is not winning Best Film of the Year but that almost all those actors have been given some recognition for it. Gold Ikponmwosa was nominated for Best Supporting Actor at the 2013 edition of the African Movie CHIKA ANADU Director, The Marriage Factor (2012) Academy Awards, Ali Nuhu was nominated for Best Actor and OC Ukeje nominated for Best Supporting Actor at the Nigerian Entertainment Awards in New York. Tunde Aladese won Best Supporting Actress at the NEAs. The joy is that next time we sound them out, they'll be interested in hearing about what it is we're producing.

ARE YOU HAPPY WITH THE WAY THE FILM HAS BEEN RECEIVED IN NIGERIA SO FAR? WHAT IS YOUR VIEW ON MARRIAGE? Honestly I am. People now know there's a production company with a hard to It should only be between consenting adults. pronounced name that made a decent film. Some critics say it is a different kind of film WHAT DO YOU HOPE WOMEN, MARRIED AND SINGLE, WILL TAKE AWAY FROM THE FILM? from the ones they have been used to seeing produced here and feel it could help This is your life. It's not a dress rehearsal, so don't be afraid to live it your way. push the boundary more, a respected film scholar told me “you've made a damn good film” and for me, that sums up my and Cinema Kpatakpata's first feature film. WHAT DO YOU HOPE MEN WILL TAKE AWAY FROM IT? (she shrugs) AFTER THE LIGHTS, CAMERA, AFRICA!!! FILM FESTIVAL, WHAT'S NEXT FOR CONFUSION NA WA? WHAT ARE SOME OF THE REACTIONS TO YOUR FILM THAT STOOD OUT THE MOST? Confusion Na Wa will be released nationwide on the 25th of October. About three How absurd the comments in the documentary aspect of the film are. Especially weeks from now and we hope to have a decent word of mouth from the LCA in order to because the answers are real. get people to come and be part of the experience. IF YOU COULD NARROW IT DOWN TO JUST ONE THING, WHAT WAS THE BIGGEST FILM MAKERS ARE SOMETIMES DIVIDED ABOUT HAVING THEIR FILMS LABELED AS CHALLENGE IN MAKING THE FILM? NOLLYWOOD. HOW DO YOU FEEL ABOUT IT? The casting. There are very few truly talented actors out there. There's this phrase I live by, “if you have to tell them who you are, then you're not a star”. Call me Nollywood because I am part of a big film industry in Nigeria but do I am technically underwhelming films like the majority of the films associated with that word? AND WHAT WAS SINGLE GREATEST REWARD TO MAKING THIS FILM? I don't know, you all have to find out as Confusion Na Wa premieres at the LCA. Finishing it. I was anxious to finish it so that I could start working earnestly on getting my feature film project of the ground.

IS THERE ANY OTHER SOCIETAL ISSUE YOU ARE EAGER TO TACKLE? I abhor injustice and dishonesty, so I intend to turn my lenses on pretty much every aspect of Nigerian society/life.

40 41 BRIGHT, HOT, THINGS in FILM Talented, emerging, Nigerian film-makers to watch KENNETH GYANG ISHAYA BAKO

Kenneth Gyang is a Ishaya Bako (born 30 December 1986) is a Nigerian film director writer and director and screenwriter. He was born in Kaduna, where he lived all his t h a t h a s b e e n life and later moved to London, where he studied at the London working in film and Film School. After attending the London Film School, Bako went television since 2006 on to script and direct the African Movie Academy Awards having graduated (AMAA)-winning Braids on a Bald Head. He won the Best Short from the National Film Awards at the 8th African Movie Academy Awards. He is an Film Institute in Jos. emerging voice of his generation and a member of the selective Notable projects in Global Shapers, a group of enterprising youths initiated by the television included World Economic Forum. working as a director for the BBC's Wetin Ishaya Bako lives in Abuja, Nigeria. D e y , M T V ' s M T V Meets, EbonyLife TV's The Fattening Room a n d T e l e v i s t a ' s Finding Aisha.

He directed Measuring Time, a documentary film on healthcare in Niger state that won Best Documentary and Technical Excellence Awards at AFRICAST 2012 and also the hugely successful film Karangiya, a cross-cultural film bridging the North and South divide.

Kenneth is the co-founder of Cinema Kpatakpata, a production company based primarily in Nigeria with the sole aim of producing regular stream of popular films shot within Africa generally and Nigeria in particular.

To date he has has directed two major feature films: the political love story Blood and Henna (2012) which showed as part of Nigeria's Art and Culture showcase during the 2012 London Olympics and Cinema Kpatakpata's debut Confusion Na Wa (2013), which received funding by the Rotterdam Film Festival's Hubert Bals Fund and despite its relatively small budget, won Best Nigerian Film as well as declared Africa's Best Film of the Year by the continent's most credible jury at the 2013 Africa Movie Academy Awards.

In 2010 he was listed by the popular Nigerian youth culture magazine, Y!, as one of 50 people under the age of 35 that will change Nigeria.

44 45 CHIKA ANADU IZU OJUKWU

Chika Anadu was born in Lagos, Nigeria in November 1980. She attended school there before going to the UK in 1997, where she did her 'A' Levels, got her first degree in BA (Hons) Law and Criminology, and a Master's degree in Africa: Human and Sustainable Development. Having always been an avid film buff from childhood, and having fallen in love with foreign language/Arthouse films during her Masters degree, it wasn't till 2006 that Chika realized that she wanted to be a film- maker.

She has made three short films - Epilogue (2009), Ava (2010), and The Marriage Factor (2012). The latter she made through the Focus Features Africa First Program in 2010 as one of the five winners.

Chika was also part of the 2011 Berlinale Talent Campus.

She took part in the 21st session of the Cinefondation (Cannes Film Festival) Residence (October 2010 - February 2011) in Paris, where she worked on her first feature script B For Baby Boy Izu Ojukwu made his directorial debut in 1993 and has since directed award winning (now B For Boy). movies locally and internationally.

B For Boy is a contemporary In 2007 he won the African Movie Academy Award (AMAA) for Best Director for the drama set in Nigeria, about one film Sitanda which received 9 nominations and won 5 awards, including best picture woman's desperate need for a and best Nigerian film at the 3rd African Movie Academy Awards. Izu produced and directed all Amstel Malta Box Office Movies in Nigeria. male child, which reveals the discrimination of women in the In 2008 Izu represented Nigeria at the United Nations Conference on Trade(UNCTDIII) names of culture and religion. with his work White Waters which screened at the closing of the ceremony.

B for Boy will have its World Izu is the director of the highly anticipated forthcoming feature film, ‘76. Premiere at the BFI London Film Festival in October 2013.

46 47

FESTIVAL HIGHLIGHTS FESTIVAL HIGHLIGHTS

The Pilot and The Passenger by director Branwen Okpako, which tells the story of Côte d’Ivoire’s first ever 3D feature animation, Pokou Ashanti Princess comes the seminal post-colonial poet, traditional priest and Biafran fighter, to Lagos courtesy of Lights, Camera, Africa!!! and is a must-see! Families and Christopher Okigbo, makes its WORLD PREMIERE at Lights, Camera, Africa!!! 2013 Film Festival. It screens on 1st October 2013 at 4.50pm at the British Council. children over 7years old are welcome to enjoy this impressive animated film. Enjoy it on the Independence Day (1st Oct.) holiday morning at 11.30am at the British Council.

JAHMAN ANIKULAPO will moderate what we know will be a lively and insightful conversation with Bond Emeruwa as part of the festival’s In Conversation series Do not miss a vibrant panel discussion featuring a bouquet of Nigeria’s most on Sunday 29th September 2013 at Freedom Park at 3pm. Anikulapo is a much-loved dynamic film-makers; young, old and in-between. Acclaimed director, Femi writer and one of Nigeria’s leading culture advocates. Odugbemi will facilitate and agitate his fellow film-makers, Tunde Kelani, Mahmood Ali- Balogun, Tope Oshin-Ogun and others, to discuss Creation at Home & Migrations in African cinema. The discussion takes place on Saturday 28th September 2013 at Southern Sun Hotel at 4.45pm. The Lights, Camera, Africa!!! 2013 Film Festival delves into the music behind the films as Ré Olunuga shares his expertise and experience in a conversational workshop on Monday 30th September 2013 at The Moorhouse Hotel at 2pm. Ré is an accomplished orchestral composer and has scored numerous films. Catch the Lights Camera Africa!!! FESTIVAL SOUK, a colorful boutique market of African crafts and other goodies that guests can enjoy for all 4 festival days. Specially designed Lights Camera Africa!!! memorabilia as well as unique local products will be available...so you have a piece of our festival to take home with you. The SOUK occurs on 28 & 29 September and 1 October at corresponding festival venues. The Lights, Camera, Africa!!! 2013 Film Festival presents a unique learning opportunity for filmmakers and interested creatives in collaboration with NOLLYWOOD Is your child above 12years old; naturally creative and curious about the WORKSHOPS. Bond Emeruwa will lead an exciting and interactive workshop wonderful world of film? If yes, then register them for Branwen Okpako’s entitled . The workshop is NOLLYWOOD – BEYOND ENTERTAINMENT Introduction to Film theory workshop for children on Tuesday 1st October 2013 at FREE and holds on Monday 30th September 2013 at The Moorhouse Hotel at 10am. the British Council at 12.50pm. Do not miss this rare opportunity to be introduced to the art of film making by this Berlin-based veteran film teacher with a special expertise in instructing children.

BE THE FIRST to see Kenneth Gyang’s Confusion Na Wa, ahead of its October 2013 Nigeria Premiere. The Lights, Camera, Africa!!! 2013 Film Festival proudly presents the There’s nothing quite like a cool sea breeze blowing as you enjoy excellent films. WORLD PREMIERE of Gyang’s latest and very powerful social commentary film. Lights, Camera, Africa!!! 2013 Film Festival offers some special outdoor screenings that are not to be missed. Enjoy free popcorn with Rasta! A Soul’s Journey on 29th September at the outdoor amphitheatre at Freedom Park or catch the festival’s finale cocktail and screening at the British Council on 1st October.

50 51 THE FILMS

: ALASKALAND (NIGERIA PREMIERE) CONFUSION NA WA (WORLD PREMIERE) Alaskaland tells the story of Chukwuma, an Alaska-raised Nigerian struggling to balance his Confusion Na Wa takes place over the course of 24 - hours in a culturally diverse Nigerian city cultural heritage with the pressures of the larger world around him. After a family tragedy - recently the scene of widespread ethnic violence. Set against the background of forces a two-year estrangement from his younger sister Chidinma, the siblings reconnect in escalating community tension, the story tracks the series of events that link the accidental their hometown. Although their time apart has created new frictions, they find their killing of an “Okada” (motorcycle taxi) rider to the murder of an innocent youth. Four reconciliation bringing them closer to each other and to their roots. interlinked stories increasingly reveal the random, confusing and unfair nature of life and justice. As these stories are told the motivations of a mysterious and forceful stranger that Dir. Chinonye Chukwu, USA/Nigeria, 2012, 75 min appears in each becomes apparent. The final result is a tragic miscarriage of justice.

Dir. Kenneth Gyang, Nigeria, 2012, 113 min. BLACK AFRICA WHITE MARBLE (NIGERIA PREMIERE) The president of Congo -Brazzaville plans to transfer the remains of 19th century pacifist CREATION IN EXILE: FIVE FILMAKERS IN CONVERSATION (NIGERIA PREMIERE) explorer Pietro Savorgnan di Brazza, founder of Brazzaville, from his grave in Algiers to a multimillion dollar marble mausoleum in Congo's impoverished capital. But Brazza's Italian This documentary follows the personal and artistic paths of five major African filmmakers in descent discovers the truth behind this extravagant p roject. Violence, corruption and skull- exile from Paris to Washington, from Ouagadougou to London, via Uppsala. duggery lie at the heart of this affair as Idanna Pucci battles to defend the ideals of her Dir. Daniela Ricci, France, 2013, 53 min. ancestor and save King Makoko, the great African spiritual leader and a living descendant of Makoko Iloo I, Brazza's 'blood brother'.

Dir. Clemente Bicocchi, USA/Italy, 2011, 77 min FELA! IN LAGOS (NIGERIA PREMIERE) In April of 2011, the cast and crew of FELA! on Broadway traveled to Lagos, Nigeria, making it the first original Broadway production to be performed on African soil. A resounding CONGOLESE DREAMS homecoming for the late Fela Kuti! Executive produced by Viva Riva director Djo Munga, Congolese Dreams follows Dir: Mark Gettes, USA/Nigeria, 2013, 15min. photographer Baudou in Mouanda on his latest project, The Dream. Through this project, he explores marriage in Congo and beauty in unlikely places – by asking women to pose in the same white wedding dress in different locations - from rubbish dumps to crowded trains. We FINCHO (NIGERIA PREMIERE) see how Mouanda juxtaposes different worlds to create strikingly beautiful pictures, and the obstacles facing photographers in the Congo. The Congolese photographer burst onto the An African boy and his girl in a small village in Nigeria, and impact of Westernisation due to global photographic scene with his colorful photographs of Brazzaville members of SAPE the coming of white man. Fincho is probably the very first colour film shot in Nigeria. The (The Society of Tastemakers and Elegant People). "I look at Africa with positivity," says screening of Fincho at the Lights, Camera, Africa!!! 2013 Film Festival is the film’s first public Mouanda, "I don’t see Africa from the perspective of people who never came here. I see appearance in Nigeria. Fincho will be shared as a special collaborative screening between Africa as a continent that will surprise people tomorrow. I'm sure of it. " As part of the the Goethe institut Lagos and The Life House. Generation Elili collective, he is active in promoting Congolese photography and staging Dir: Sam Zebba, Nigeria, 1958, 75min exhibitions for the local community, even when everything from infrastructure to finance seems to be against them.

Dir. Philippe Cordey/Al Jazeera, 2012, 25min. FOOTPRINTS OF MY OTHER (Noire ici, blanche là-bas) (NIGERIA PREMIERE) Claude Haffner, daughter of a French father and Congolese mother, sets off for Congo in search of her African identity. Her journey brings her face to face with her sense of otherness, both in Congo and back home in France.

Dir: Claude Haffner, Congo/France, 2011, 52 min.

54 55 FUELLING POVERTY MICROPHONE It is 2012, the country is Nigeria and between a very active militant group a nd an unpopular Khaled returns to Alexandria after years of travel and discovers that it is too late t o rekindle a president, the most common word is an unlikely one: "SUBSIDY". From three year olds in Warri relationship with his old love and his relationship with his father is broken b e y ond repair. to septuagenarians in Potiskum, lives have been affected and the word 'subsidy' has Self -a bsorbed, he roams the city and stumbles over the u n derground art scene: hip hop personified hardship, oppression and corruption at an exponential level. The oil subsidy singer p erforming on sidewalks, female rock m usicians on rooftops, skateboarders cruising placed on petroleum products by the Nigerian government was meant to provide a much - all over the city, graffiti artists c o n f r o nting the city with shocking murals. Mesmerized by needed relief on the cost of living in one of the most complicated countries in the world. the discovery of t h i s world, he tries to support this movement and draw attention to his However after a probe by the House of Representatives, it was revealed that about seven city’s diversity. billi on dollars was stolen from the Nigerian people in one year from the same program that Dir. Ahmad Abdalla, Egypt 2011, 122 min. was meant to provide relief for them. It is quite possibly one of the most daring frauds in history. This documentary by award-wining director, Ishaya Bako, expresses and articulates this fraud. With music from Femi Kuti and Asa, FUELLING POVERTY is another collaboration MUGABE: VILLAIN OR HERO? (NIGERIA PREMIERE) between the award - winning team of writer/director Ishaya Bako and producer Oliver Aleogena; a joint production between The Allied Film Company and Amateur Heads Media. In his directorial debut, Roy Agyemang explores the reality behind the headlines in a feature - The film is funded by the Open Society Initiative for West Africa (OSIWA). length documentary. What was intended to be a three-month project about Robert Mugabe, the leader of Zimbabwe, turned into a life changing three - year project. With Dir. Ishaya Bako, Nigeria, 2012, 30min. unprecedented access to Mugabe and his entourage and drawing on a wealth of news footage, including Bob Marley’s historic appearance at in dependence celebrations in 1980, KOUKAN KOURCIA (THE CRY OF THE TURTLEDOVES) (NIGERIA PREMIERE) this personal, highly accessible and often amusing film raises wider serious issues about the relationship between African leaders and the West in the fight for African minerals and land. In the 1970s, the filmmaker S ani’s father was one of many young Nigerien men w ho, as fans Dir. Roy Agyemang, UK, 2012, 117 min. of the celebrated young Nigerien singer known as “Hussey”, took t h e advice given in her lyrics to leave Niger for wealthier West African countries, a nd only return in the rainy seasons to work. The men left, but did not return. Forty years later, Sani sets out with “Hussey”, OLU AMODA: A METALLIC JOURNEY (WORLD PREMIERE) travelling from Niger to Cote d’Ivoire ftion d these men and t-h rough new songs -e ncourage them to finally returnh ome. An audio - visual narrative exploring Olu Amoda’s very creative expansive journey as principally a metal artist for three decades. It highlights Amoda’s artistic mission to expand the Dir. ElHadj Magori Sani, Niger/Ivory Coast, 2011, 62min. vocabulary of sculptural expression based on materials and, examines how he has carefully chosen specific metal - materials for their shapes, textures and properties; as well as found, LA PIROGUE (NIGERIA PREMIERE) used, fresh, dated and repurposed objects, to give them artistic relevance and imbue them with new communicative meaning. From his famous nail sculptures to mixed-metal A group of African men leave Senegal in a pirogue captained by a local fisherman to assemblages, there is the intrinsic yet palpable aura of the Soul of both the metal-material undertake the treacherous crossing of the Atlantic to Spain where they believe better lives and the traditional artistic heritage of the artist himself in an intimate interaction which the and prospects are waiting for them. La Pirogue competed in the Un Certain Regard section documentary examines within the ‘spirit space’ of metal-workers. at the 2012 Cannes Film Festival Dir. Tam Fiofori & Joel Benson, Nigeria, 2013, 30 min. Dir. Moussa Toure, Senegal/France, 2012, 87 min

THE MARRIAGE FACTOR A young woman, and her marriage minded mother.

Dir. Chika Anadu, Nigeria, 2012, 15 min

56 57 AN OVERSIMPLIFICATION OF HER BEAUTY (NIGERIA PREMIERE) RASTA - A SOUL’S JOURNEY (NIGERIA PREMIERE) With arresting insight, vulnerability, and a delightful sense of humor, Terence Nance’s Rasta tells the story of the journey of Rita and Bob Marley’s granddaughter’s, D o n isha explosively creative debut feature, AN OVERSIMPLIFICATION OF HER BEAUTY, documents the Prendergast, to eight (8) countries to explore the roots, evolution and i m p act of relationship between Terence and a lovely young woman (Namik Minter) as it teeters on the Rastafari. Donish a educates viewers about a way of life that man y know little about divide between platonic and romantic. Utilizing a tapestry of live action and various styles of beyond the dreadlocks, ganja, and the red, gold, and green. A long the way she animation, Terence explores the fantasies, emotions, and memories that race through his encounters Rastafarian elders, musicians, poets, professor a ns d individuals who share mind during a singular moment in time. personal stories of the ni flIuence of Donisha’s iconic g randfather, on their lives. Moving away from the standing approachReass ttaofari and Jamaica, RasTa focuses on the Dir. Terence Nance, USA, 2012, 93 min international presence of Rastafari and the people and places where the uplifting spirit of the movement can be found.

THE PILOT AND THE PASSENGER (WORLD PREMIERE) Dir. Stuart Samuels, Canada, 2011, 90 min. Christopher Okigbo was the pilot of his own life, a priest, a poet and a soldier but he was a passenger on the ship of history navigating through colonialism, independence and war. ROLLING DOLLAR: A LEGEND UNPLUGGED The Lights, Camera, Africa!!! 2013 Film Festival is proud to present the world premier e of this much-anticipated body of work from the brave and talented film-maker Branwen Okpako If music is a measure of history then Fatai Rolling Dollar at 86 years old, and still with Wole Soyinka, Demas Nwoko, Christopher Okigbo, Tunji Oyelana, Denis Brutus and Ali performing to big audiences across the world, is the living breathing Mazrui and featuring poems from Christopher Okigbo and music by Jean - Paul Bourelly encyclopedia of Lagos culture and music. From playing Agidigbo music in the e a rly 1950s to his guitar vibes of Highlife in the 1960s and 70s, Rolling Dollar has lived and loved Dir. Branwen Okpako and Nu - Breed Productions, Nigeria, 2007, 80min. performing his music for over 60years. Although the success of his early career would later disappear with a series of professional and personal m i s fortunes in the 1970s he never POKOU ASHANTI PRINCESS (NIGERIA PREMIERE) gave up. He would re - e merge in the 1990s toc apture the imagination of audiences across the world with his ageless musical f u sions and electric performances. Pokou Ashanti Princess is the first ever feature 3D animation from Ivory Coast. In the 18th Dir. Femi Odugbemi, Nigeria, 2013, 56min. century, in the Kingdom of the Ashanti people, which covers two-thirds of modern - day Ghana, lives Princess Abla Pokou. Influential advisor to King Opokou Warê, she is against the war. Pokou is a serious obstacle to former warrior Kongouê Bian who has become a THE STUART HALL PROJECT (NIGERIA PREMIERE) witchcraft practitioner. Power - hungry he attempts a coup against the King, his best friend, and kills the rightful heir to the throne. Pokou manages, thanks to her charisma and mystical The Stuart Hall Project is a film on the cultural theorist and sociologist Stuart Hall. Directed by powers, to prevent war between those for and those against the regime imposed by John Akomfrah and produced by Lina Gopaul, the film debuted at the Sundance Film Kongouê Bian. She prefers exile to confrontation. Kongouê Bian begins persecuting them. He Festival in Jan. 2013. Through archival footage, television excerpts, family photographs and a is determined to prevent a prophecy from fulfilling itself in which it is said that a woman will soundtrack from Hall's musical hero Miles Davis, Akomfrah’s portrayal of Hall's life, work and be head of a kingdom much more powerful than that of the Ashanti. cultural impact explores issues of identity, cultural acceptance, immigration and assimilation. Hall's central argument is that a person's identity is continually shaped by surrounding forces Dir. Afrikatoon Production, Ivory Coast, 2013, 65 min. he often uses his own experience as a Jamaican, raised part Scottish, part African, part Portuguese Jew to make his point. Not only does this remarkable film work as both a portrait of Hall himself and his adopted country, it is also an intriguing insight into how the UK has for many decades used the documentary form to explore questions of identity.

Dir. John Akomfrah, United Kingdom, 2013, 96 min

58 59 Day 3 FESTIVAL PROGRAMME Sunday 29, September 2013 Lights, Camera Africa!!! 2013 Freedom Park, Broad Street, Lagos 11.30am - 12.30pm: Film - Koukan Kourcia (The Cry of the Turtledoves)

Day 1 12.40pm - 1.10pm: Film - Olu Amoda: A Metallic Journey Friday, 27 September, 2013 (INVITATION ONLY) The Wheatbaker Hotel, Onitolo Road, Ikoyi 1.10pm - 1.20pm: Q&A with director, Tam Fiofori

6.00pm – 7.00pm: Cocktail Reception 1.25pm - 2.45pm: Film - Black Africa White Marble 7.05pm – 7.10pm: Festival Opening Remarks 3.00pm - 3.30pm: In Conversation with Bond Emeruwa moderated by Jahman Anikulapo 7.10pm – 7.15pm: Sponsor Remarks 3.40pm - 5.10pm: Film - La Pirogue 7.20pm – 9.15pm: Private Preview Screening Confusion Na Wa – Dir: Kenneth Gyang, Nigeria, 2012, 5.20pm- 6.35 pm: Film - Fincho

9.15pm – 9.30pm: Q&A with director, Kenneth Gyang 6.45pm - 7.15pm: Festival Rooftop Bar Happy Hour

7.25pm - 7.40pm: Film - Fela! in Lagos

Day 2 7.45pm - 9.15pm: Film -RasTa A soul's journey Saturday, 28 September 2013 Southern Sun Hotel, Alfred Rewane Road, Ikoyi

11.30am - 11.40am: Welcome Remarks Day 4 (Part 1) Monday, 30 September 2013 11.45am - 12.40 pm: Film - Footprints of my Other The Moorhouse Hotel, Bankole Oki, Ikoyi 12.45pm - 1.15pm: Film - Fuelling Poverty 10.00am - 11.30am: Festival Workshop by Nollywood Workshops led by Bond Emeruwa 1.15pm - 1.30pm: Discussion/Tea Break 12.00pm - 1.30pm: Panel Discussion: Let's Talk About Distribution 1.30 pm - 2.45 pm: Film - Alaskaland 2.00pm - 3.00pm: Conversation - Ré Olunuga - Scoring Films 2.45pm - 3.00pm: Discussion Break Day 4 (Part 2) 3.00pm - 3.25pm: Film - Congolese Dreams Monday, 30 September 2013 British Council, Thompson Avenue, Ikoyi 3.30pm - 4.30pm: Film - Creation in Exile: Five Film-makers in Conversation 3.20pm - 5.22pm: Film - Microphone 4.45pm - 5.45pm: Panel Discussion: Creation at Home and Migrations in African Cinema 5.30pm - 6.30pm: Film - Rolling Dollar: A Legend Unplugged 6.00pm - 7.30pm: Film - Oversimplication of her beauty 6.40pm - 8.20pm: Film - The Stuart Hall Project 8.35pm - 10.00pm: Cocktail Reception and Festival Social (By Invitation Only) 8.30pm - 10.30pm: The Festival Garden Concert and Cocktail (By Invitation Only)

60 61 Day 5 1 October, 2013 (Independence Day) British Council, Thompson Avenue, Ikoyi

11.30am - 12.35pm: Film - Pokou Ashanti Princess

12.50pm - 1.45pm: Film Theory Workshop for Children facilitated by Branwen Okpako

2.00pm - 2.15pm: Film - The Marriage Factor

2.20pm - 4.20pm: Film - Mugabe: Villain or Hero?

4.20pm - 4.35pm: Discussion Break

4.35pm - 4.50pm: Pre-screening poetry and readings in honour of Christopher Okigbo.

4.50pm - 6.10pm: Film - The Pilot and the Passenger

6.10pm - 6.20pm: Q & A with director, Branwen Okpako

6.25pm - 7.25pm: Independence Day Toast and Wine reception

7.30pm - 9.25pm: Film - Confusion Na Wa

9.25pm - 9.35pm: Q & A with director, Kenneth Gyang

62 THE 2013 LIGHTS, CAMERA, AFRICA!!! TEAM Fusing vision, love, adventure, creativity, a bit of insanity and a few too many coffees, these folks are the heart and soul of the Lights, Camera, Africa!!! Film Festival 66 Ugoma time experience, She inspires She

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was edits and of of in 67 68 support tothefestival. Lanre isoneoftheoriginal initiators oftheLights,Camera,Africa!!!FilmFestivaland providesprogramme African stories. world. Sheisalawyerinreallifeandcannot over-emphasizetheimportanceoftelling Lanre's professionallifehasfocusedongovernance andsustainabilityinthedeveloping LANRE SHASORE film makers. support toemerging providing critical an organisation Nollywood Workshops, workshop with Bond Emeruwaanda Nigerian filmmaker masterclass with distribution, a scores forfilmand issues includingwriting and workshopson sessions withdirectors number ofQ&A year, therearea LCA!!! tradition.This that isanimportant learning component effort toshoreupthe We’ve putinalotof heavy Dayo Petroleum venture-backed An (dayogastudio.com). moonlights belt, nature, Dayo accountant provides an Roland co-founded DAYO ADEGOKE Dayo avid Gas) speakers. as strategic long-distance is a marketing. considered by oil yoga The training, and and Life moral gas instructor House by runner, Dayo company support many in is which 2009 to enjoys also to the with with be festival. the has vegetarian a a his founder focus fitness earned wife, He also on Ugoma. expert. of helps natural meals him Mos with the He A and Energy gas lifting productive is nickname a organic and and taekwondo Company moving LPG free foods, “Dayoga” (Liquefied our spirit Ltd, black rather and by a 69 LCA!!! 2013 VOLUNTEERS With their high spirits, large hearts and invaluable free time they make producing this festival a little easier WANA UDOBANG WanaWana as she is popularly known is a journalist,broadcaster, writer,poet,gender/health care advocate, culture fanatic, 40s/50s pinup obsessive and chiffon lover. She often describes herself as an awesome cook with a love for documentaries and indie cinema.

Wana currently works as a radio personality and producer at 92.3 Inspiration FM in Lagos, Nigeria. She has been a freelance writer and contributor for NEXT, Premium Times, BellaNaija and the Huffington Post.

She is a short fiction writer and an alumni of the Farafina Creative Writers Workshop. Wana also runs Guerilla Basement Productions; an arts promotion company and blogs at www.wanawana.net

Wana supports the festival with social media, creative promotion and great energy.

YINKA IBUKUN Yinka Ibukun is a Lagos-based journalist and has been published by Reuters, The Associated KEMI LALA AKINDOJU Press, The British Airways HighLife Magazine, The Guardian UK, The Christian Science Monitor and Kemi Lala Akindoju is a working actor who is passionate Bloomberg News, among others. But, in typical Lagos style, she's been known to dabble in other about everything that has to do with the arts. Haven things. Her Twitter handle is @yibukun. worked with renowned directors and filmmakers around Nigeria, Lala now runs THE MAKE IT HAPPEN PRODUCTIONS Yinka assists with writing and editing all festival press releases, articles and interviews. which is a production company targeted at telling African stories through whatever medium; film, television or stage.

Kemi Lala Akindoju was one of the co-ordinators of YEATOE SOUKOUNA-DENNIS Nigeria's first ever Creative Career's Fair which held in July Yeatoe E'arma Soukouna Dennis born on 5th October 2000 in 2010, and is a member of the faculty at the Lufodo Atlanta and now attends the Lagos Preparatory School in Ikoyi, Academy of Performing Arts (LAPA). currently in year 7. She has lived a lot of places in her short lifetime of 12 years and has enjoyed the experience. She was announced as the Actor of the Year at The Future Awards 2010 and was also nominated for the same award She has lived in Atlanta, Ghana, Nigeria, and Dallas, even though in 2012. She holds a Masters Degree in Media and she hated to leave all her friends in so many places she loves Communication from the Pan-African University. Lala is the experiencing new homes and new places. Yeatoe is ccompletely convener of Open Mic Theatre, a hub for actors to bond passionate about running and absolutely loves living in Nigeria. and network and a one-stop shop for fresh talent. She is also a global shaper with the World Economic Forum. Yeatoe will assist with managing and styling this year's Festival Souk. Lala, an adopted member of The Life House family, supports the festival with media and industry strategy and helps create buzz.

72 73 ...& MORE VOLUNTEERS

Lights, Camera, Africa!!! 2013 Film Festival wishes to acknowledge the following volunteers who responded to our newsletter; our radio requests on Classic 97.3FM and our call through Volunteers in Nigeria to offer us their time, energy and expertise for FREE!

THANK YOU!

Sophie Enitan Oluwa, Patrick Michael, Joshua Oshioke, Ore Somolu, Madua'Justice James, Emmanuel Awogun, Nike Oluwa, Ufuoma Jamani, Ademola Fayoyin, Rofiyat Kolawole, Mitchelle Umobong, Adeola Faseyi, Adetola Ajani, Damilola Somefun, Caleb Akano, Adebola Abe, Adeniyi Olusanya, Ifeoluwa Ojo, Adoza Adams, Ebuka Okoli, Oludolapo Adeniji, Jessica Nwamadi, Henry Okoli, Segun Michael, Adenike Bamigbade, Oladayo Olaniyan, Elizabeth Kuponu

DaYoga yoga and pilates classes hold on Thursday at 7pm and Saturday at 10.30am at BMS Spa, 4 Magbon Close, Ikoyi. Private home and office yoga tuition also available on request www.dayogastudio.com 74 SPONSORS & PARTNERS SUPPORTERS

76 77 ACKNOWLEDGEMENTS

In addition to our Partners, Sponsors and Supporters, the Lights, Camera, Africa!!! 2013 Film Festival was made possible by the generous donations and support of the following individuals;

Remi Okunlola Chude Jideonwu Charles Aaron Anusim O.C Ukeje Fatumata Soukouna Wale Opayinka Phillip Griffith Bukola Izeogu Lee-Ann Cassie Carole Boissier Habeeb Fasinro David Kruyt Ike Echeruo Obi Asika Sola Adegbesan Nkiru Asika Ayodele Onafeko Mahen Bonetti Keith Richards Tosin Otudeko Gbolly Balogun Chukuka Chukuma Tolu Osinibi Olaide Alebiowu François Sastourné Iyabo Aboaba Hanna Einarsson Theo Lawson Anders Einarsson Fusi Olagbegi Ngu Morcho Ojoma Ochai Debi Williams Marc-Andre Schmactel Neil Coventry Hilda Adeogun www.thelifehouse.com Mosun Ogunbanjo Chinedu Nwankwo www.lightscameraafrica.com Peace Anyiam-Osigwe Yinka Odejayi Call us:+234 7034030683/+234 8034732034/+234 7034170400 Simon Grindrod Adeyinka Akingbade Elem Ebilah Ubong Nseobot @LCAFilmFest @lifehouselagos Wana Udobang Lanre Lawal Jahman Anikulapo Prosper Onogberie : The Life House Femi Odugbemi Lukman Issa Monica Aguilar Seun James Taiwo Watch The Life House Project: http://thelifehouselagos.com/video-gallery Lala Akindoju Mr Rafa

Ygroup Holdings The Aaron Foundation Racecourse Media Enough is Enough Nigeria Promovers Nigeria Ltd a Whitespace

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