Tag: AFRIFF

SEQUEL to Relativity Education’s engagement with the Africa International Film Festival (AFRIFF) to boost capacity for creative professionals in Africa, the executive team of the former, welcomed the CEO of AFRIFF, Ms. Chioma Ude, to their Los Angeles office to debrief on the success of the last edition of the festival, which took place in Calabar, Cross River State.

It will be recalled that Relativity Media, the third largest mini-major film studio in the world, participated actively at AFRIFF 2014; hence the move to formalise plans for further partnerships between both organisations.

Its subsidiary, Relativity School, is the first and only school of its kind created with a major Hollywood studio, and the relationship with AFRIFF, their first in Africa, represents an important element of the institution’s global education efforts in film media and performing arts.

Interestingly, beneficiaries of AFRIFF’s scholarship scheme will have first-hand training at Relativity School, this summer.

According to Glenn Kalison, President, Relativity School, the summer session will provide Executive training programs in Hollywood and Professional Development Certifications to these inaugural cohort of African creative professionals, and this will serve as Relativity School’s premier alumni class on the continent.

“We’re thrilled to bring best-in-class filmmaking education to Africa through AFRIFF and welcome our inaugural class and scholarship recipients. Hollywood carries the proud tradition of producing the highest quality products in the world and Relativity Education offers programs that teach the fundamental best practices behind sustained success in creating the highest quality films. We want Africa’s films to gain international appeal and global recognition. The rich culture of the African continent and the stories therein are ripe for the telling,” said Kalison.

Following the impressive turnout of media professionals at Relativity Education’s industry seminars at AFRIFF 2014, Stephen Ozoigbo, Relativity’s International Advisor, also expressed a firm commitment to maintaining the current momentum with the creative ecosystem and support the aspirations of local industries in Africa to attain global standards.

He said: “A strategic approach to capacity building by Relativity Education highlights Hollywood’s attraction to the African ecosystem and offers a unique opportunity for the stakeholders on the continent to internationalize their craft.”

As a trailblazer for the media and entertainment ecosystem on the continent, Ude, through AFFRIF, has continued to raise the bar on the creative economy and advanced the AFRIFF mission internationally. Now in its fifth year of operations, AFRIFF’s vision, she noted, is to raise awareness about African cinema, its vast potential and the tremendous socio-economic impact of creative professionals on the African continent.

“From inception, we have maintained a strong commitment to establishing bridges for partnership with international counterparts to raise standards of quality, expertise and compliance to globally attainable levels,” said Ude.

According to her, “The first four years were strategically intended to build the AFRIFF brand and gain the brand notoriety that will allow global brands like Relativity to partner with us and create sustainable pathways for exponential growth and development across Africa’s creative economies.”

The Los Angeles trip also provided Ude with opportunities to initiate other industry partnerships with value chain actors in Hollywood. It is expected that future editions of AFRIFF will include more international partners and deeper engagements with afro-centric stakeholders in Hollywood.

As a precursor to AFRIFF 2015, the Relativity scholarships to 20 creative professionals from Africa this summer will serve as a catalytic process for deepening the relationships between both ecosystems, by offering unique opportunities for selected professionals to hone their craft through training and development, create rich networks in the global market, and pursue interesting projects and initiatives through collaborative opportunities that will be presented at Relativity School.

With three diadems, including the Best Feature Film award, Kunle Afolayan’s psychological thriller, October 1, proved the ‘alpha male’ among the over 75 films in competition at the just-concluded Africa International Film Festival (AFRIFF), which held in Calabar, Cross River State.

Although described as the poster boy of Nollywood, Afolayan’s feat took Africa by storm, having defeated strong contenders in the continent. The ovation was loudest as he returned to the stage a second time for the Best Feature Film award, having previously received the Best Actor prize on behalf of Sadiq Daba, who played Inspector Waziri in the film – in between, Tunde Babalola, the writer of the October 1 script, had also clinched the Best Screenplay plaque.

Known for his business-mindedness, Afolayan, who held the plush plaque high-up, asked if monetary prizes were attached to the awards, received the yes nod from the AFRIFF founder, Ms. Chioma Ude from the crowd. The filmmaker then narrated briefly, his usual ‘sweat and blood’ story to describe how the movie gulped N200 million of loans.

This was the first competitive award the film has won since its historic release in the cinemas on October 1st. It could be said that the film came with great promises, as, prior to its release, its trailer won the Best Fiction Film Trailer at the International Movie Trailers Festival in 2013, while Afolayan himself received two awards; the ‘Creative Entrepreneur in Filmmaking‘ and ‘Overall Creative Entrepreneur‘ by the British Council in Nigeria, early in the year.

The AFRIFF awards night at the Cultural Center, Calabar, offered the best of stage artistry, compelling performances and thought-provoking speeches, as the winners in different categories of the Awards are unveiled intermittently.

Other awardees on the night are, Andrew Dosunmu, Best Director for Mother of George; Bola Agbaje and Destiny Ekaragha, Viewers’ Choice Award for Gone Too Far;   CJ Fiery Obasi, Best Nigerian Film for Ojuju; Thishiwe Ziqubu, Best Actress for South African film Hard To Get; Joanna Lipper, Best Documentary for The Supreme Price, a film on the late MKO Abiola; South Africa’s Samantha Nell, Best Short Film for Stiff;  Naji Ismail, Special Jury Prize for the Egyptian film, Om Amira and Iquo Essien, Best Student Short Film for Aissa’s Story.

Delivering on her promise of further training for film students at an American university, Ude unveiled the 10 students who had shown the most aptitude during the festival’s training sessions- they are, Udoekpo Utibe Charles and Lekan Olarenwaju for Directing; Adeolu Adeniyi and Otobong Ekpeyong for Cinematography; Oluwabori Ijimakinde, Adelarin Awotedu and Lydia Gachuhi for Script writing and finally, Emeka Darlington, Hauwa Allahburh and Daniel Ezekiel for Acting.

Also, speaking at the glamorous event, the Special Adviser to the President on Research, Documentation and Strategy, Mr. Oronto  N. Douglas, represented by his Special Assistant, Molara Wood, urged Nigerian and African filmmakers to take up the challenge of promoting irresistible images of our society on the  screen, to show that  our stories are also important and valid.

According to him, “We need more biopics on heroes whose exploits have impacted on our societies. We need more films focusing on pivotal episodes in our history. We need more period dramas that  examine the past, and more speculative films about the future.We need greater cross-pollination between the art forms…these are some  of the issues I would like our filmmakers to consider, as this year’s festival comes to its glittering close.”

Noting that no successive government in the country has done so much for the industry, Douglas said, President Goodluck Jonathan believes in the value that the film industry adds to the economic and cultural development of the country. As a result, he has been walking the talk by providing concrete support through grants and the Nigerian Export-Import Bank, so that the industry can become bigger and better for the benefit of Nigeria, Africa and the world at large.

The event was graced by notable personalities, including the Governor of Cross River State, Sen. Liyel Imoke, and his wife, Obioma, Nollywood stars; Genevieve Nnaji, Omotola Jalade-Ekeinde, Kate Henshaw, Rita Dominic, Ramsey Nouah, Segun Arinze and Kalu Ikeagwu among others.

The industry sessions at the ongoing Africa International Film Festival (AFRIFF), taking place in Calabar, Cross River State, has continued to explore topics of interest- especially one of them, the Art of Film Criticism, which appeared to have pitched art journalists against filmmakers.

The filmmakers appeared battle ready, determined to pour out their mind about the perceived damages done to their movies by film critics. They figured that it is unfair to rubbish a film which has gulped so much money on the pages of the newspapers, adding that such also discourages potential investors.

But the session, which had Don Omope, Editor of African Screens Magazine and Shaibu Husseini of Nigeria’s The Guardian Newspapers debunked that film criticism is destructive, asking the filmmakers to have a rethink.

Anchored on three main questions: What do you think of the film critic? Are they partners or spoilers? Do they help box office returns or not? The panel noted that the input of critics can only enhance filmmakers’ attempt to do what is right. However, in doing so, it was reasoned that the would-be critic needs to know the genre so that he/she would speak convincingly about the work. The critic, it was also noted, should endeavour to have a sound knowledge of film history, genre, know the style of the director and, perhaps, check whether he or he/she has been consistent in creating the screen image.

Husseini, who pointed out that the actual art of criticism, is done in the academics, said, “as a journalist doing his review and appreciation of movies in The Guardian Newspapers, which is titled Movie Run, he has made so much enemies.”

He, however, noted that this has not deterred the effort to have a thriving criticism culture. He has made the art selfless and agenda focus. In other words, his mission as a critic is to help sustain a germane film tradition that is devoid of incongruities.

He said: “You cannot review or critique without watching the entire script. Your impression of the film should not be solidified until you have seen the film to the end.”

He equally noted that a film critic should be bibliophilic, not just a cinephile. “You need to read books and books on film criticism and appreciation.”

According to Omope, filmmaking cannot grow in isolation. However, there is a conflict between the critic and the filmmaker, which has created a subtle tension in terms of quality and box office returns.

Not acceding to the opinion that critics should be part of the ‘filmmaking process because it kills the independence of the critic, he noted: “you cannot think or teach the filmmaker how to do his/her work.”

Omope also advised critics not to play small letter god, as they are partners in the growing film industry and where it is going is ahead and great.

Also speaking on the role of critics in the development of a film culture, Prof. Johnson of the University of Uyo said filmmakers should develop thick skin, adding that, “the more prominent a filmmaker is, the more attention he or she gets.”

Johnson, however, nudged filmmakers to look properly at what people say about their work. “There isn’t any need to be in a hurry and don’t allow your ego to stifle, what would otherwise have been a quality work.”

Also speaking, producer of the popular Ije movie, Chineze Anyaene, said “a filmmaker should be open to criticism. Nothing is perfect, pick the ones that are constructive and drop the rest.”

Dedicated to the hundreds of innocent protesters who were brutally murdered during the recent revolutions that swept through Egypt, The Square, Jehane Noujaim’s Oscar-nominated documentary, became a topic of discourse among Nigerians and other guests. The film highlights how resolute the masses can be, in the demand for their rights, defying the divide and rule syndromes usually devised along religious and ethnic line. Participants feel that there is so much to learn from the story by Nigerian leaders as they seek elective offices in the 2015 elections.

Staged at the popular Tahir Square, Cairo, Egypt, the film takes its title from the place of the showdown that ousted the tyrannical regime of Hosni Mubarak, known to have held Egypt down for over 30 years.

Some of the notable names at the event are, Tunde Kilani, Charles Novia, Andy Amenechi, Beverly Naya, Rita Dominic, Moses Ewang, Linda Ejiofor, Chika Chukwu, Kalu Ukeagwu, Gideon Okeke, Chelsea Eze, Mahmood Ali-Balogun.

The festival continues till Saturday. It will be rounded off with a closing night film, Hard To Get, and an award ceremony.

MY thirst for film festivals is highly assuaged again, knowing that some notable African films will be coming to Nigeria for all to see. With The Square, an Oscar-nominated documentary by Egyptian filmmaker, Jehan Noujaim, as the opening night film and Hard To Get, from first-time feature director, Zee Ntuli, as the closing night movie, I may just forget for once, that I am in Nigeria for a film festival.

Kudos to the organizers of Africa International Film Festival (AFRIFF) for keeping it real, coming from the fact that AFRIFF is meant to be a continental film event that will also sell the potentials inherent in Nigeria, and indeed, Calabar, a major tourist attraction.

Last year, Of Good Report, the work of South Africa’s first-time feature film director, Jahmil Qubeka was an eye opener for Nigerian filmmakers and film students who attended, and there is no doubt that these new choices by AFRIFF’s Artistic Director, Keith Shiri, will be worth our while.

It is a learning process, and we may just have a lot to take home from The Square, a stunning film that charts the course of three years of Egyptian political upheaval that began in 2011.

On the other hand, I saw Hard to Get in Durban early in the year, and I can tell that the film is fuelled by a bewitching visual poetry. The action romance explores the universal theme of love in the very specific context of contemporary South Africa. The film is set against the unpredictable backdrop of Joburg’s criminal underworld.

That aside, AFRIFF’s eagle eyes, has also caught good films from several other countries, including Nigeria, with Tunde Kelani’s Dazzling Mirage, Kunle Afolayan’s October 1 and Lancelot Imasuen’s Invasion 1897.

What more? Gone Too Far, an adaption from Bola Agbaje’s Olivier award-winning play set in London and directed by Destiny Ekaragha; Difret, another affecting feature debut from Ethiopia, detailing the traumatic experience of an Ethiopian girl accused of killing a man who had sexually abused her.

No doubt, AFRIFF is poised to celebrate Africa, giving room for filmmakers in the continent to showcase their works, without the kind of restriction posed by the biennial Festival of Pan African Cinema (FESPACO) holding in Burkina Faso. I hear there are lots of hard-hitting documentaries and a generous selection of shorts representing over 30 countries from all the regions of Africa.

The subjects of discourse in the industry sessions are another area to look forward to. Actors, filmmakers, film marketers, distribution houses and various professional guilds in the entertainment industry will gather at different venues, discussing issues of benefits, while charting a new course for African cinema. Film students and filmmakers alike will also engage in trainings, as part of the capacity building initiative of the festival.

There is no doubt that these sessions are the artistic and business sides of showbiz, and are essential to the development of the creative non-oil sector of the economy. Some of the great subjects to be explored by the festival include, Acting laboratory  Acting with integrity, to be hosted by notable producer/director, Mildred Okwo and Adapting African literature for screen- A cinematic goldmine, to be handled by an army of industry bests such as Jude Idada, a screenwriter, playwright and novelist; Tunde Kelani, foremost cinematographer; Yemi Akintokun, a movie director; Jane Maduegbena, a lawyer and mobile application expert and Jeremy Weate of Cassava Republic publishing outfit.

Other sessions will include Art of Film Criticism, a conversation about the work and art of a film critique to be handled by Don Omope, Editor of African Screens Magazine and Shaibu Husseini of Nigeria’s Guardian newspaper; Demystifying Distribution in Nigeria, to be hosted by Gab Okoye (Gabosky), Chichi Nworah, Uwem Jacobs and Kene Mkparu of FilmHouse; Film Marketing 101 by Uzoma Onwuchekwa; Finance For Film Workshop by Akintunde Oyebode; The History, The Picture, The Art, The Film by Pat Nebo and International Co-production to be handled by knowledgeable filmmakers in international treaty such as Zama Mkosi, Mahmood Alli- Balogun, Neil Mccartney and Madu Chikwendu.

The week-long event will also treat topics like Going International…, a window to major festival circuit; Nollywood Alert, information platform for film industry on health and development; The Restless Pitch, a training workshop to be followed by an open, creative live pitching session and Relativity Nollywood Summits on digital distribution and piracy.

No doubt, there will be a place for glitterati, with a glitzy opening and closing ceremonies, with celebrities rocking the red carpet. And while filmmakers cool off, at the end of the day’s intellectual programmes, the various parties and cocktails sponsored by institutions, the awards night also holds a lot of promises for some films, even as 10 students will be selected from the workshop sessions for further training in an American university.

The programmes are just too rich to ignore, and I cannot wait to be a part of a process that works. Abeg, let’s go to AFRIFF.

There are indications that the record of attendees for this year’s Africa International Film Festival (AFRIFF) will surpass that of previous editions, with 250 applications already received within the first week of registration.

Feelers from the festival secretariat has it that the ongoing registration exercise has recorded an impressive number of requests from filmmakers in Nigeria, Kenya, Ghana, Cameroon, South Africa, Senegal, Mali, Malawi, Uganda and several other African countries.

Reports say the pack received so far also includes requests from Africans in the Diaspora as well as individual filmmakers and film companies in Europe, United Kingdom, United States and Canada.

For the festival which is in its fourth year, the success story is unprecedented, even as organisers say the best is yet to come.

Since its first edition in 2010, AFRIFF has provided free training and talent development opportunities for young people and aspiring filmmakers. Interestingly, another aspect of this year’s edition which has swelled traffic on the festival’s website is the hands on training and workshop on scriptwriting, cinematography, acting and directing for aspiring filmmakers in Africa.

Chief Executive Officer (CEO) of AFRIFF, Chioma Ude, noted that from this workshop, AFRIFF is planning to take 10 students to a prestigious university in the United States of America for further training in various aspects of filmmaking. She explained that through this initiative and several others, the festival plans to change the economic horizon of the African film industry.

“We believe we can use this model for a social revolution that will change the economic horizon of the African film industry, by providing technical knowledge and skill to enhance the abundant talents in our film community,” she said.

This time, beneficiaries of the training will be expected to shoot a short film after their course abroad, in fulfilment of their training billed to be entered into the festival’s students’ short category for the subsequent AFRIFF in 2015, Ude added.

According to the festival guidelines, registration for the workshops which opened at the new AFRIFF website, www.afriff.com on September 15, will close on October 17, while general registration will end on October 31.

AFRIFF 2014 is scheduled to take place at the popular Tinapa Business and Leisure Resort, Calabar, Cross River State from November 9 to 16.

As part of its plans to further grow the film sector, the Africa International Film Festival (AFRIFF) is planning to sponsor 10 students to the United States for practical training in various aspects of filmmaking.

According to Ms. Chioma Ude,  the founder and CEO of AFRIFF,  the top 10 students, who display exemplary aptitudes at the forthcoming AFRIFF training/ workshops scheduled to hold between November 9 and November 16, at the Tinapa Business and Leisure Resort, Calabar, Cross River State, will be eligible for the programme.

The proposed training in short film at one of the American universities, which is a reward scheme for the would-be lucky students, is a collaborative effort with a key AFRIFF partner.

Ude further explained that the planned training is in line with the vision of providing opportunities for graduates of the festival’s programme tagged ‘AFRIFF Talent Development Workshops’, which include training in acting, scriptwriting, directing and cinematography.

 She said: “AFRIFF has, since its first edition in 2010, provided free training and talent development opportunities for young people and aspiring filmmakers. We have provided ground-breaking education in Sound for Film, Cinematography and Screen Writing for over 500 students. We have done this in partnership with Sound & Motion Technical College and City Varsity, Cape Town, South Africa. We have also worked directly with students of the National Film Institute, Jos, the Creative Arts Department of University of Port-Harcourt, PEFTI Film Institute, Lagos as well as other aspiring young film makers.

Aside the training for film students, she noted that AFRIFF also organises master classes for more established filmmakers and professionals in the industry.

 “We believe we can use this model for a social revolution that will change the economic horizon of the African film industry by providing technical knowledge and skill sets to the abundant talents in our film community.

 “AFRIFF 2014 team is currently resourcing for this year’s talent development training workshops in association with top industry partners who will also be announced later.”

The beneficiaries will be expected to shoot a short film after their course abroad, in fulfillment of their training billed to be entered into the festival’s students’ short category for the subsequent AFRIFF in 2015.

According to the organisers, interested candidates for this year’s workshops should register at the new AFRIFF website, www.afriff.com.

“Only registered candidates will be eligible for short-listing for the workshops. Registration for participation in all aspects at the festival begins from Monday, September 14,” she added.