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. • Reverend Cole in court 56:42 - 1:01 • As the proceedings begin, the accused, Reverend Cole is captured in a medium- CORE STUDY AREAS 1 - STARTING close-up as the camera gradually zooms in. POINTS - Key Elements of Film • The female Prosecutor is framed in a medium- Form (Micro Features) shot, capturing her sense of measured judgement by locating her in the centre of the shot. Cinematography • The gradual alternating movement from • Side -shot of the man, Che Stephen the accused Reverend to the female and Grace Chi, with Stephen sitting Prosecutor reinforces the flow of the behind her, as though he is protecting proceedings, as the dialogue moves the her. His hands are enveloping her. narrative towards its final outcome. • He is captured tilting his head to side • Lighting around his face is low-key, not to suggest his concern for Grace. revealing his face fully, but suggesting that • Close-up of Grace shows her bewilderment- this detail is not significant. What is at play her eyes are looking down. are his brutal actions (wife beating) and his • The State Prosecutor, Vera Ngassa is sitting allegations that she committed adultery. down behind her desk. She and Che Stephen are • The lighting is enhanced to show the man crying, 1 A Level Film Studies - Focus Film Factsheet when the judge is ready to give her judgement. gravity of Grace’s maltreatment and reinforces • Camera movement to the right of the screen the idea that she is given space to speak, frames his wife in a sitting position capturing whilst she is listened to and taken seriously. her composure throughout the scene. • The slow pace of the edits and the duration • Camera movement from the accused when of the shots suggest that a procedure is he is found guilty to the wide frames a in place to address Grace’s situation. wide-shot, where she sits with a male • Slow pace of the editing permits the interaction companion. Her subtle smile is captured. between the Defence and Prosecutor to unfold. • Camera shots are overwhelmingly in medium • The long-takes enable the pauses to be or close-up throughout the scene, enhancing meaningful so the spectator can form a response. the tension of the court room and creating • The steady pace of the shots suggests the uncomfortable atmosphere as it is warm that the court proceedings are in and the small room is overcrowded. control, with the presiding female judge Mise-en-Scène exercising her wisdom and authority. • When Stephen and Grace walk into the office, Sound we see that it is cluttered, but functional • We hear the State Prosecutor’s voice before with its computer, desk and fax machine. we see her. This is effective as she speaks The air-conditioning machine on the desk with a clear and reassuring voice which highlights how hot and uncomfortable it is. suggests that she has the matter in hand. • Framing the Prosecutor’s desk with her • Diegetic sounds from outside the office paperwork, an Oxford English Dictionary, a indicating the limited quiet space of the phone and a bell reinforces the idea that she office amongst this simple community. is official and overwhelmed with her work. • No non-diegetic music, sustaining • In-spite of the limited space and make-shift look authenticity of place and its simplicity. of the office, the State Prosecutor’s approach • A diegetic voice begins the sequence, prompting remains authoritative, practical and constructive. the court to rise when the judge enters. This • The judge stands out when she arrives in sound reinforces the sense of formality at court, she is wearing a white blouse. play and works in tandem with the respect • The male Defence lawyer is well dressed commanded by the court, for the judge. in a suit and tie, suggesting his social • The effectiveness of the sequence and its position and wealth, when compared with overall impact draws on the diegetic sounds how the other men are dressed in court. of the people attending the hearing. The • The accused Reverend wears a pale blue short- unfolding narrative relies on the authenticity sleeve shirt, suggesting attempts to look smart and realism of the people’s voices and and formal, whilst taking the heat into account. the diegetic sounds of the court. • The accused’s wife is sitting folding her • We hear the judge’s clear and strong voice arms, suggesting her confidence in the as she moves the proceedings along, even proceedings, without being intimidated when the camera does not capture her. by her husband’s accusations and the male lawyer’s language which calls her ‘loose’. • The accused wife wears colourful traditional CORE STUDY AREAS 2 - STARTING clothing and does not cover her head or face. POINTS – Meaning & Response Editing Representations • Long-takes when Che Stephen explains • The representation of Stephen in this sequence how he found Grace, enabling the man’s is significant within the wider narrative. He account to be heard in good time. is represented as compassionate and caring when other sequences represent men’s • Slow pace of editing enables Grace to be at brutality and violence towards their women. relative ease when she is questioned, allowing her response to unfold and contribute to • Madam Prosecutor is portrayed as the construction of the overall narrative. authoritative but compassionate, commanding Stephen’s respect. Unlike other sequences • The steady pace of the shots suggests the 2 A Level Film Studies - Focus Film Factsheet where men are brought to account by • The position of women is determined women with legal authority, Stephen by patriarchal views of men who may defers to her wisdom and experience. regard women as their property. These • There is no conflict between Stephen and the views are often reinforced by family, Prosecutor (as is portrayed in other sequences) friends and the village community. where patriarchal attitudes and male violence are • Whilst the law legislates for equality of in question. Stephen and the Prosecutor engage gender, those who follow Islam, particularly in a dialogue which puts Grace first, and does Sharia Law still believe that women are not involve any power politics between them. not allowed their independence. • Grace’s situation represents the vulnerability • Under Sharia Law, women’s rights and and danger to children in this society, when they freedoms are very limited and they must defer are often subject to physical neglect and abuse. to a male guardian, a father or husband (for example, permission to leave the house). Aesthetics (i.e. the ‘look and feel’ of the film including visual style, • The rights and freedoms of children within influences, auteur, motifs) this community can be precarious. • The look of the film reinforces the • Schools are set up and compulsory in Cameroon underdevelopment of this society: people’s simple up to the age of 14, but books and uniforms must but traditional clothing, the limited physical be paid for, so often sons rather than daughters resources and the basic buildings and spaces. are prioritised, thus perpetuating women’s scope for opportunity and financial independence. • The inside of the state Prosecutor’s office is not very modern, but the importance of addressing • Young children are often expected to all forms of injustice, in this case against help out with farming chores. children is evident, even in a simple office set-up. • Female judge in the court-room challenges • The documentary looks and feels raw, the traditional views held by men, with a visual style capturing realism and which work against women’s rights and authenticity. The clothing and mise-en- fundamental freedoms. Would a male scène, correlate with the lives of those judge reach different verdicts? whose stories are central to the narrative. Production • The lack of glamour works with the • Florence Ayisi and Kim Longinotto were documentary’s movement towards revealing supported by the non-profit media organisation the truth and giving a narrative space to ‘Women Make Movies’ (set up in New York the stories of the vulnerable women and in 1972), running workshops teaching women children in this village community.

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