2,062 films submitted for 6th Eko International Film Festival
The Nigeria Hotel and Tourism Investment Conference
Stephanie Linus  wins  Best Protagonist  award at the Bentonville Film Festival  USA
“Celebrating 5 Years of An Intervention!”  IREP Documentary Film
CPD 9th Annual Research Conference On Cultural Diplomacy University of Southern  California
“Thy Will be Done” a new movie of Obi Emelonye
IFFR 2015 Awards Announced
WOMEN: MAKE IT HAPPEN
Become A Sponsor To The 6th Eko International Film Festival
Hurrah! EbonyLife TV is 2 Today!!!

Hurrah! EbonyLife TV is 2 Today!!!

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We at EbonyLife TV are excited about how far we have come as a channel and would like to thank our avid viewers, clients and sponsors for their continuous support. We know it’s cliché but we truly wouldn’t be where we are now without you all and for that, we are truly grateful! In celebration of EbonyLife TV’s 2nd year anniversary, we are bringing you exhilarating, exclusive specials…

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In The Spot, what have your favourite trio got in store for you? Well, Lamide, Ebuka and Zainab will be indulging you in a special retrospective episode with two of their favourite guests Falz TheBahdGuy and Omalicha as they look back at their favourite moments, it’ll be fun, exciting and different. Join the party on Wednesday 1st July, at 21:00 WAT, on EbonyLife TV, DStv channel 165. You don’t want to miss it!

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In Chefrican, we’ll be cooking up a treat as Uzo shows us how to make African party favourites with an urban twist. Joined by a surprise guest, we celebrate with moments of mouth-watering pleasure on this special anniversary episode of Chefrican on Sunday 5th July at 21:00WAT on EbonyLife TV, DStv channel 165.

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Twice the humour, twice the fun, twice the drama, it’s EL R8D!!! The ever hilarious EmmaOhMyGod and funny newbie Wofai Fada will leave your ribs cracking in the “EL R8D Anniversary Special”. Join the comical duo as they bring humour and knowledge together in celebration of EbonyLife TV at 2. Catch the special episode on Sunday 5th July at 18:00WAT on EbonyLife TV, DStv channel 165.

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Join the EL Now gang as they take a look back at the last year, highlighting phenomenal ELTV moments, they’ll also be counting down the “Top 5 Strong Women of EbonyLife TV”. Party hard with Ekeng, Wunmi and Cynthia…you can do this on Wednesday 1st July at 16:30 WAT on EbonyLife TV, DStv channel 165.

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When you hear “Progressive Positive News” what do you think of? EL Reports, right? In celebration of EbonyLife TV’s second year anniversary, EL Reports will be taking you on a reflective visit as they highlight the “best bits” of the last year. Tune in to EbonyLife TV, DStv channel 165 on Friday 3rd July at 18:00WAT. In the next year, EL Reports looks forward to bringing you more progressive positive reportage, not only from Africa but internationally. Cheers to many more years and cheers to you!

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Celebrating 9 years of the best of talk, Moments with Mo is going travelling as they redefine Pan-African! Taking the chat to Nigeria, Ghana, Kenya and South Africa, join the conversation and together we bring you exciting new “Moments”! Starting July 1st

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Ever wondered what your domestic staff are up to when your back is turned? Coming soon to EbonyLife TV is Madam Sarah’s House, a brand new comedy surrounding the day-to-day shenanigans of the typical Nigerian domestic staff. Coming soon and exclusive to EbonyLife TV.

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2,062 films submitted for 6th Eko International Film Festival

kate hens

Eko International Film Festival (Ekoiff), a duly registered international film festival (by Supple Communication limited) was inaugurated in 2010 to position Nigerian film Industry to imbibe international best practice by creating opportunities for international co-productions and distribution and thus bring the world film market to Nigeria.

Ekoiff has been endorsed by Lagos State Government

The Eko International Film Festival is one of the premier venues for the exhibition and promotion of feature and short films in the Lagos, and one of the leading independent film festivals in Africa dedicated to celebrating and sharing with national and international audiences the absolute best in the world of films and screenplays, film scores, and some other genres, the festival features special presentations, retrospectives, workshops, pitch panels, networking events, celebrities, a gala awards reception and ceremony, and many of the world’s top independent film screening.

The 6 edition is billed to take place November 16 – 21,2015 at Silverbird Cinemas Victoria Island Lagos.

Below are submissions from different countries of the world.

Submissions by Location

Country Submissions
United States 301
United Kingdom 171
Canada 135
Spain 128
India 124
France 117
Iran, Islamic Republic of 90
Italy 79
Brazil 72
Germany 67
Not Specified 40
Egypt 36
Portugal 34
Argentina 33
Turkey 30
Australia 26
Ireland 24
Russian Federation 22
Nigeria 21
Philippines 20
Poland 20
Singapore 20
Taiwan 18
Romania 18
China 17
Mexico 17
Hong Kong 15
Sweden 14
Belgium 12
Israel 11
Denmark 11
Finland 11
Bulgaria 10
Peru 10
Switzerland 10
Greece 10
Serbia 10
Netherlands 10
Syrian Arab Republic 9
Korea, Republic of 9
Indonesia 9
New Zealand 9
Kosovo 9
South Africa 7
Austria 7
Iraq 7
Japan 7
Cameroon 6
Pakistan 6
Ukraine 6
Ecuador 6
Czech Republic 5
Norway 5
Kazakhstan 5
Cuba 5
Bangladesh 5
Viet Nam 5
Nepal 5
Uganda 5
Croatia 5
Hungary 4
Colombia 4
Malaysia 4
Lebanon 4
Georgia 4
Chile 4
Sri Lanka 4
Morocco 4
Lithuania 3
United Arab Emirates 3
Afghanistan 3
Bahrain 3
Cyprus 3
Moldova, Republic of 3
Thailand 3
Angola 3
Estonia 2
Côte d’Ivoire 2
Dominican Republic 2
Algeria 2
Mongolia 2
Myanmar 2
Puerto Rico 2
Venezuela, Bolivarian Republic of 2
Tanzania, United Republic of 2
Iceland 2
Ghana 2
Slovakia 2
Isle of Man 2
Belarus 2
Kenya 2
Jordan 1
Latvia 1
Western Sahara 1
Qatar 1
Palestine, State of 1
Malta 1
Botswana 1
Paraguay 1
Luxembourg 1
Azerbaijan 1
El Salvador 1
Martinique 1
Congo, the Democratic Republic of the 1
Zimbabwe 1
Guinea-Bissau 1
Guinea 1
Rwanda 1
Macedonia, the former Yugoslav Republic of 1
Guadeloupe 1
French Polynesia 1

Entries by Category

Category Entries
Feature Film , Short Film , Fiction, Documentaries , Short Documentaries, Horror, Student Film 1 minute 2062

You are all welcome to the 6th edition of Eko International Film Festival.

Nobember 16-21,2015.

Hope Obioma Opara

President/Founder

Eko International Film Festival

Publisher Magazine
www.supplemagazine.org

+234 803 303 6171

Office Address:
Eko International Film Festival
Supple Communications Limited
17, Modupe Johnson Crescent, Surulere, Lagos, Nigeria.
www.ekoiff.org

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HAPPY BIRTHDAY FIDELIS DUKER

boss

FIDELIS DUKER
Film Director/Producer. and Founder: Abuja Inter’l Film Festival

I met Fidelis Duker the first time in 2009 at the biggest film festival of the world “FESTIVAL de CANNES”i.e. Cannes Film Festival in France, since then we have been like brothers .He has been putting me through with what film businesses are all about especially on film festival.
He is one of the few most respected in the Nigerian Film Industry today.A film Director/Producer and have held many post locally and internationally in film business.
Hi Boss. May God continue to bless you and your wonderful family.

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Stephanie Linus wins Best Protagonist award at the Bentonville Film Festival USA

staphanie Stephanie Linus’s upcoming new film “DRY” won a film award at the Geena Davis and ARC Entertainment’s inaugural Bentonville Film Festival (BFF) in Arkansas, U.S. for “Best Protagonists”. Coca-Cola and Wal-Mart presented the Bentonville film festival that took place from May 5th to May 9th in Arkansas United States. Dry, the upcoming film by A-list actress, director and producer Stephanie Linus is making it’s round in the film festival circuit. Picking up the award on behalf of Stephanie Linus was the films co-producer/editor Jane Lawalata.st 6
“This came as a complete surprise. I am excited and honored that the Bentonville Film Festival picked my film for a screening, let alone an award. I am looking forward to this film touching the hearts of many more and helping people take action to save the child bride.”– Stephanie Linus, Director, Producer, Writer, Actress.

steph The Bentonville Film Festival (BFF) founded by Academy Award Winner Geena Davis and Trevor Drinkwater, was a star-studded event that included guests like: Soleda O’Brien, Robert De Niro, Nick Canon, Courteney Cox, Bruce Dern, Jeffrey Katzenberg, CEO of DreamWorks Animation, Helmer Catherine Hardwicke (“Thirteen”, “Twilight”), Rosie O’Donnell, Melissa Joan Hart and many more.steph 3

The movie “Dry” follows a trail of Zara’s (played by Stephanie Linus) trip to Africa, her constant turmoil as a result of inexplicable horrors from her child hood, her experiences and heartaches while working with young girls suffering from complications from early child birth as child brides, against the backdrop of a rich African culture. It is full of intrigue, suspense, unbelievable surprises, the joy of reconciliation and the power of the human spirit that is guaranteed to captivate and engage moviegoers.

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Tribute to a Legend Percy Sledge

PERCY                                   Percy when he was young and old

Below is the lyrics and video of his popular music that was released in 1966 ‘when a man loves a woman’

“WHEN A LOVES A WOMAN”
When a man loves a woman, he can’t keep his mind on nothing else
He’ll trade the world for the good thing he’s found
If she is bad, he can’t see it, she can do no wrong
Turn his back on his best friend if he put her down

When a man loves
a woman, spend his very last dime
Tryin’ to hold on to what he needs
He’d give up all his comforts, sleep out in the rain
If she said that’s the way it ought to be

Well, this man loves a woman
I gave you everything I had
Tryin’ to hold on to your high class love
Baby, please don’t treat me bad

When a man loves a woman, down deep in his soul
She can bring him such misery
If she plays him for a fool, he’s the last one to know
Lovin’ eyes can’t ever see

When a man loves a woman, he can do her no wrong
He can never own some other girl
Yes, when a man loves a woman I know exactly how he feels
‘Cause baby, baby, baby, you’re my world

When a man loves a woman I know exactly how he feels
‘Baby, baby, baby, you’re my world

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Become A Sponsor To The 6th Eko International Film Festival

 

6th ekoiff

Eko international film festival welcomes new ideas and would love to work with any organization that shares interest in the arts and entertainment industry during the 6th edition of the event coming up November 16-21, 2015.
We have a wide range of unique sponsorship opportunities for businesses and partners who want to be involved in our annual event and other occasions throughout the year, allowing companies to identify with major players in the film industry and driving their brands among an affluent consumer audience.

SPONSORSHIP
For more information on a customized Eko International Film Festival sponsorship package designed to accommodate your brand’s marketing agenda, please contact President at +234 803 303 6171. president@ekoiff.org

Sponsorship Brochure
ADVERTISING
For advertising opportunities in our Festival Program Brochure, please contact our Advertising Sales Coordinator at +234 818 315 1753. marketing@ekoiff.org

Advertising Media Kit
FILM & FOOD
For Film & Food Fundraising Party sponsor opportunities, please contact Marketing Coordinator at +234 818 315 1753 ; marketing@ekoiff.org
Film & Food Sponsorship Packages 2015
Eko International Film Festival will appreciate prospective Festival Sponsors
whose contribution and commitment to aspiring filmmakers and screenwriters through their financial support will enhance our annual event. This will ensure Eko International Film Festival continues to administer its various educational, cultural and motion picture initiatives every year.

EKOIFF LOGO FOR PRESS

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iREP DOCUMENTARY FILM FESTIVAL 2015 AS IT HAPPENED

FEMI

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FEMI 5 FEMI 6 FEMI 7

Editorial
Camera rolling, sound rolling…! It’s festival time again and this means that it is time again for the iREP newsletter, an initiative by Goethe-Institut Nigeria, iREP International Documentary Film Festival and some very talented young film critics. I am very happy that this newsletter is coming out again, not only because it gives us an insight into the filmmaker’s perspectives, but also because it offers a platform for a rather rare species of art critics: the film critic. There are not many opportunities in the Nigerian cultural journalism scene to write and publish on films; this opportunity does not only offer some practical experience to the journalists, but also gives the festival a physical and tangible product that can be used for archiving and documenting purposes.
I have to thank the team around Aderinsola Ajao for putting up and continuing this initiative and what remains to be said now is:
“and… action!”

Marc-André Schmachtel
Institutsleiter / Director
Goethe-Institut Nigeria
German Cultural Center

‘Quality Content is Paramount’
By AmarachukwuIwuala
The 5th edition of the iREPRESENT International Documentary Film Festival started on Thursday, 19th March, 2015 with the screening of UNFORGIVEN, a Rwandan-German documentary by Lucas Augustin. The opening screening of Chameleon, a Ryan Mullins’ 2014 documentary film was deferred owing to technical hitches.
The opening ceremony commenced with a welcome address by Femi Odugbemi, the Executive Director of iREP, who thanked the festival’s staff, volunteers, partners, sponsors and individuals who had supported the festival from inception five years ago. His welcome address was followed by the keynote speech.
In his speech, captioned ‘New Values for Audience Development in a Digital Space’, the Managing Director of Multichoice Nigeria Limited, Mr. John Ugbe, observed that the response to the right content is no longer subject to a 6-month research or survey, but is now immediate because two screens are available to the audience in the digital age – one for watching content and the other for giving feedback to the content provider on social media: Twitter, Facebook, etc. This second screen, he remarked, is usually a phone.
Ugbeasserted that quality content was paramount in the digital space, stating that it did not matter where content was produced: a bad story remains a bad story. He added that even with top-notch technical quality, if a story was not compelling, it would not make the desired impact.
In his own remarks, Marc-André Schmachtel, the Director of the Goethe-Institut Lagos, expressed his happiness that iREP offered the opportunity for German documentaries to be screened and was delighted by the privilege offered by non-fictional films, which he believes promotes a people’s history and culture.
Wendy Mitchell, Film Programme Manager, British Council, London, delivered a short speech from OjomaOchai, Director, British Council, Lagos, who was unavoidably absent. Ochaistressed that, “we need to tell our own stories better.”Mitchell also informed the audience of about 15 new programmes and grants initiated by the British Council.

The Creative Intent of a Single Story
By Ettobe David Meres
Thanks to ChimamandaNgoziAdichie, we are alert to the danger of a single story about Africa. But what is the danger of not telling that single story about Africa, especially, when it may be true?
Mr. WehinmiAtigbi, CEO of M2DC, in a keynote address, ‘Creative Intentions in the Age of Digital Mass Media’, delivered at the 5th edition of the iRepresent International Documentary Festival, believes ‘’we cannot tell our stories based on a lie.’’ This is all the more important in the documentary film genre that seeks to ‘’capture the world in its naked splendour.’’
Whereas the audience for films in the fiction genre is expected to suspend belief, to believe in the story, documentary filmmakers have to tell verifiable true stories about reality. And because filmmakers are not free of bias, the intention behind the telling of a story is important.
According to Atigbi, the digital mass media has created a new kind of audience. An audience that tends to spend their waking life poring over screens on mobile devices; building alternate lives on Facebook or Twitter, and sharing the next cool video on Youtube. This makes them impatient, sufferers of a short attention span.
The danger for documentary filmmakers is that in bid to hold the attention of this new audience they would, as Mr. Atigbi said, engage in ‘’pseudo-reality shows’’ like Big Brother Africa that are only ‘’frivolous reflections of reality.’’ The role of film makers in this digital age, he said, is to ‘’remind us that there is life outside the digital space’’ by telling true stories that are challenging, informative, and which open our minds.
When asked if African filmmakers should always tell the truth about Africa, even if it means washing their dirty linen in the public view of Western media, he said it should depend on the filmmaker’s conviction. For Africa to be taken seriously however we must evolve to the stage where we can tell ourselves the truth, he said. In the digital world of CGIs, special effects, and Photoshop, we would continually question what is real. Documentary filmmakers can only meet this need by offering stories that are true about Africa however difficult these are to swallow.

To Forgive Or Not to Forgive?
By Adefoyeke Ajao
German filmmaker Lukas Augustin delivers a touching narrative of the aftermath of the Rwandan genocide through UNFORGIVEN. The 75-minute documentary tells the story of reconciliation through an diverse group of victims. They include Ananias, imprisoned for seven years for his role in the genocide, and Brigitte, who is taken captive alongside her sister after their grandfather is slaughtered. The consequence of the rape she suffers is her daughter Liliane, who suffers PTSD.
Also sharing their experience in the documentary are Claudine, whose siblings were reportedly murdered by Ananias, and Innocent, a disfigured young man who has chosen to forgive his attackers. Christophe is the agent of change whose organisation Christian Action for Reconciliation and Social Assistance (CARSA) seeks to reconcile the victims with the perpetrators.
Samson is CARSA’s intermediary and rounding up the cast is Wellars, Innocent’s childhood friend who led the attack that left him disfigured.
UNFORGIVEN focuses on the path to forgiveness and the emotional trauma both the offender and offended are subjected to while finding closure. Can the perpetrators of the Rwandan genocide be pardoned by their victims?
The film boasts numerous powerful scenes. At a point, Claudine confronts Ananias, during a meeting facilitated and moderated by CARSA. Watching Ananias seek forgiveness without revealing the whole truth showed his motive was not to be free from internal guilt but to avoid another jail term.
In another touching scene, Innocent and Claudine return to the church, where both were maimed and 30,000 Tutsis slaughtered.
Innocent and his attacker Wellars however best represent the idea of reconciliation that the film addresses: a message that is occasionally a hard-sell for Claudine.
Augustin does a good job of letting his dramatis personae tell their stories. The audience not only has the opportunity to witness the whirlwind of emotions and scars harboured by eyewitnesses of the Rwandan genocide, but also has the chance to empathise with them. Their gestures and tears reveal pain that is too heavy for words to describe. Augustinemphasises this. He downplays sound and speech, while highlighting action conveyed via the victims’ physical expressions.
UNFORGIVEN sets out to convict by asking if indeed we are willing to practise what we preach. Whether or not we can forgive those who have harmed us is a hard question put forward by Augustin.

Crippling Aid
By AmarachukwuIwuala
POVERTY INC.,directed by Michael Matheson Miller, is set against the backdrop of the Haitian earthquake of 12th January, 2010, which was followed by aid agencies, governments, NGOs and social entrepreneurs making a lot of donations in cash and kind to help the victims of the disaster. In the end, it turned out that the aid crippled the prices of locally-produced goods: a common consequence wherever foreign aid is the main source of survival for victims of natural or man-made disasters.
The documentary features a series of talking heads including Timothy Schwatz, a Haitian writer and researcher; Andrea Widmer, co-founder Seven Fund, and author ofThe Pope and The CEO.
There were also interviews from Joel Salatin, a US farmer; Kenneth Michel, CEO dloHaiti; Theodore Dalrymple, author/psychologist; Herman Chinery-Herse, Founder BSL Ghana; Alex George, co-founder, Enersa. These experts, among others, give insight as to how foreign aid under-develops and impoverishes a people. The point is resoundingly made that it is trade, innovation and business that develop countries; no nation has ever developed on aid.
Aid, it is said, has given birth to the global poverty industry. As one of the intervieweesproclaims, “the earthquake became a short-term natural disaster that turned into a long-term unnatural disaster.”Another interviewee declared that there were more than 10,000 NGOs in post-earthquake Haiti, with more NGOs per capita than anywhere in the world. It was also pointed out that charity has become an unfashionable word that has now been replaced with social entrepreneurship.
In the end, POVERTY INC. advocates that instead of giving a poor population fish, the people should be taught how to fish. Director Miller’s effort results in a well-researched story, told captivatingly.

“We have rekindled awareness of the power and possibilities of documentary film.”
Interview with Femi Odugbemi, executive director, IREP Film Festival

By Isabella Akinseye
Why are documentaries so important?
Documentary filmmaking is a sober genre fostering reflections on culture, politics, ethics, philosophy, society, science, spirituality and addressing questions of day-to-day life. It is also a cultural practice and every form of its interpretation enriches a culture. And because ‘culture’ is an evolving definition, documentaries represent important interpretations of these evolving shared experiences. The dimensions of documentary as a tool for deepening human experiences by bringing perspectives to history is a vital and urgent need to foster needed development and grow the nascent democratic experiments in our continent.
What is the vision of IREP?
At IREP, we strongly believe that documentary can help to recreate the African identity and re-tell the narrative of the “African experience” in the voice of those living the experience. That is why our festival’s thematic framework from inception – five years ago – has been built around the phrase “Africa in Self-Conversation.” It’s about self-realization and identity. In this emerging global environment, cultural distinctions and dissection aid understanding as well as preserve and protect diversity. Documentaries are important in helping us all to express our “individualities” within the blurred boundaries of the global community.
Can you shed more light on “Documentaries and the digital space”?
Documentaries are also personal and too important to be left in the hands of institutions. It should be in the hands of the population. Today, everything happens at the speed of light – fast foods, fast cars, fast communication, fast marriages. All human experiences – social political and economic – are moving at a rapid pace, requiring not only perspectives but individual interpretations of their meaning and impact.
Thankfully, the ‘accessibility’ of the digital space has created the opportunity and tools for individuals to not only document their ‘reality’ as it happens but to broadcast and distribute their story globally within minutes.
It has already been five years. What has IREP achieved in this period?
Well, for starters, we have rekindled awareness of the power and possibilities of documentary to provoke debate; highlight issues; explicate human experiences, and explore history and cultures. We have over the past five years screened more than 500 films of diverse styles, languages and themes from over 40 countries of the world. We have built an audience for documentaries that are entertaining, impactful, penetrating and enlightening. We have formed strategic international alliances and partnerships with the Africa World Documentary Film Festival at the University of Missouri, USA, to access contemporary films and filmmakers from across the world.
Our partners have also included the Goethe-Institut, with whom we began five years ago; the British Council; the Ford Foundation; Freedom Park, and many others who have supported our vision. We have provided training opportunities for emerging young filmmakers through our Festival Workshops, documentaries, and international networking platforms for experienced producers. We have achieved a lot in just five years because more than ever before, documentary films from Nigeria, and even more documentary filmmakers, are emerging to participate at the IREP Documentary Film Festival every year.
How have you managed to keep going despite the challenges?
We have retained our passion for the genre and focused on building on our strategic plans year on year. Of course, our yearly challenge has always been finding support but we are growing stronger by the year. The IREP brand is known across the continent and beyond. It is trusted for its quality and is still creating impact. We have made it this far and we are thankful, especially to all our friends and our supporters who continue to believe in the importance of our vision.
What can we expect this year – anything new?
This landmark fifth anniversary festival will explore the theme “Reinventing Documentary Filmmaking in a Digital Space” and it will form the overriding concern that our screenings, presentations and conversations will explore. Though conceived on the traditional IREP thematic framework of ‘Africa in Self-conversation’, the theme is premised on the reality that digital media technology is expanding narrative possibilities and shaping audiences’ experiences of how realities are articulated.
Documentary filmmaking is coming to terms with these new realities and continuously finding hybrid strategies to navigate the blurred lines crisscrossing verité and satisfying the ever-changing temperament of the digital world that is hip, fun-seeking, chaotic, multi-tasking, and attention-sapping.
For documentary filmmaking, digital technology presents a challenge and an opportunity that would either remarkably transform and redefine what passes as a documentary film or bury the art in its past. More than ever before there is a need to reinvent the art of documentary filmmaking within the space of the new elements that are dictating the trend of media consumption and experience globally. We are also conscious of the inevitable movement of television broadcasting and services into full digital era as envisaged by the Nigeria Broadcasting Commission and that quite a lot of African nations have set [the] same 2015 as deadline for their full embrace of digital broadcasting on the continent.
What are the other highlights of this year’s festival?
Highlights of the festival will include film screenings, keynote speeches, panel discussions, producers’ roundtable, awards presentation, and training/workshops. This festival will screen over 40 films curated around themes and issues in Africa. It has become a tradition for the festival to engage Africa and Africans in self-conversation and create talking points that can bring insights on developmental issues in Africa.
This edition of the festival has deliberately allowed an eclectic selection of films addressing different subject matters, and selected widely from different parts of the world, including USA, South Africa, Uganda, Ghana, Germany, Nigeria, and many more.
Tell us about the Producers’ Roundtable.
The Producers’ Roundtable is a forum that brings international filmmakers and producers together in an extensive discussion that covers areas such as international collaborations and co-productions; film distributions; publicity and marketing; international best practices, and prevailing industry trends. This edition of the Producers’ Roundtable will explore the opportunities that technology brings to film distribution using case studies from very successful campaigns.
The migration to digital broadcast by many countries in Africa will also be a cogent point of discussion, particularly on how documentary filmmaking can take advantage of the policy.
And will awards be given out this year?
Every edition of the iREPRESENT International Documentary Film Festival, we recognize the industry and commitment of those who have made immense contributions to the discipline of documentary filmmaking in Nigeria. These cut across different areas that facilitate the filmmaking process. Recipients of the iREP Festival Awards from past festivals include ChikeMaduegbuna, Emeka Mba, Sandra Obiago, BiolaAlabi, and AdegboyegaArulogun. Deserving personalities will also be presented with the award this year.
Tell us about the trainings and workshops.
In the last four years, iREP has trained close to 200 young, up-and-coming filmmakers in the art of documentary filmmaking. This edition of the festival will expand on what has been done in the past. The training will run for four days, offering intensive hands-on knowledge of filmmaking. The training is a two-tier documentary filmmaking course on “Telling Your Story in the Digital Space” and “Distributing Your Story in the Digital Space.”
Our goal is to prepare the participants for the opportunities of digital filmmaking in a broad sense. We believe that documentary filmmakers must become more flexible and invent new ways of telling stories across multiple platforms and immersive formats. The thrust for a post-modernist, self-aware documentary film culture must find a space for itself in the digital agenda and marry creative storytelling with timelessness of issues that are yearning to be told. This fifth edition of iREP will interrogate how the documentary filmmaker is engaging his art within the digital space – can documentaries remain verité, or like beauty, will the truth be in the eyes of the beholder? We look forward to the activities and interactions of the 2015 festival with great excitement, and we hope strongly that as many people as possible would be a part of it.

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Movie “IN THE MUSIC” Premier at Genesis Deluxe Cinemas the Palms

LULU 2

Rising Phoenix Entertainment is announces today their theatrical release of their new musical movie called IN THE MUSIC. The movie based on the well known expression “from grass to grace” will be premiering on the 26th March 2015 at Genesis Deluxe Cinema at the Palms mall Victoria Island.

LULU

Stars : Omawumi Megbele, Keira Hewatch, Bryan Okwara, Tomi Odunsi, Beverly Naya, Chelsea Eze.
Special Apperance by: Kenneth Okoli, Omalich of Rhythm 93.7, Naomi Mac.

Synopsis
“IN THE MUSIC” is about Ihuoma and Nnenna are two sisters that give a new meaning to the phrase “when life gives you lemons…” having lost their mother to lung cancer at an early age, life becomes very complicated for them. Owing to life and its difficulties they had to survive the harsh realities of a big city. They journey through this musical quest finding happiness and comfort as they make friends and enemies along the way.
IN THE MUSIC has been a labor of love that started with Rising Phoenix Entertainment to Genesis deluxe cinemas as distributors of this project .
“Our love for this film and the blood and sweat that went into it makes me confidence that IN THE MUSIC will reach a wide audience who will be able to identify with it, says the producer Oluchi Afurobi.

Written by :Chidi Udensi and Oluchi Afurobi
Directed by: Chibuzor “Jay” Afurobi
Produced by: Oluchi “lulu” Afurobi

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“Celebrating 5 Years of An Intervention!” IREP Documentary Film

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“Celebrating 5 Years of An Intervention!”

by Femi Odugbemi, Executive Director/Co-Founder IREP Documentary Film Forum.

FIVE years ago when we set out to host the first iREPRESENT Documentary Film Festival, all we had in mind was to create a forum where we could enjoy the best documentary films from around the world that we loved the most! Who knew that what began as an idea to feed a passion for documentary films will evolve into such a driver for growing the documentary film genre not only in Nigeria but across the continent?
For starters we have rekindled awareness of the power and possibilities of documentary to provoke debate, highlight issues, explicate human experiences and explore history and cultures.

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We have over the past 5 years screened over 350 films of diverse styles, languages and themes from over 40 countries of the world. We have built a passionate and growing audience for documentary films that are entertaining, impactful, penetrating and enlightening. We have formed an army of young filmmakers who understand the form and are focusing on documentary as a creative platform of expression and intervention. We have built platforms for training and skill development in the art of documentary via our workshops and conferences especially for young filmmakers.

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We have provided international networking platforms for experienced Producers through our ‘Producers Round table’ events. We have — through our strategic international alliances and partnerships with the Africa World Documentary Film Festival at the University of Missouri USA — gained access to the finest contemporary documentary films and filmmakers from across the world. Our partnership base has also included reputable international organizations such as the Goethe Institut with whom we began 5years ago, the British Council, the Ford Foundation, Freedom Park and many others who have supported our vision. We have been networked into key global documentary film circuits such as the People2People (P2P) forum in South Africa; Documentary Network Africa (DNA); Dok.fest in Munich and Sheffield Film Festival in the UK, among others.

We have achieved a lot in just 5 years but most importantly we have grown interest and activity in the art of documentary because more than ever before more and more documentary films are being produced in Nigeria and more documentary filmmakers are emerging to participate at the IREP Documentary Film Festival every year.All of these have happened because we have retained our passion for documentary cinema and focused on inviting as many people as possible to appreciate its power and promise!

Of course, our challenges yearly has always been funding support but we are growing stronger by the year. The IREP brand is known across the continent and beyond; it is trusted for its quality and it is still creating impact. We have made it this far and we are thankful, especially to all our friends and our supporters who continue to believe in the importance of our vision.

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This landmark 5th anniversary festival will explore the theme: “REINVENTING DOCUMENTARY FILMMAKING IN A DIGITAL SPACE,” and this will form the overriding concern that our screenings, presentations and conversations will explore. Though conceived on the traditional iREP thematic framework of Africa in Self-conversation, the theme is premised on the reality that Digital media technology is expanding narrative possibilities and shaping audiences’ experiences of how realities are articulated. Documentary filmmaking is coming to terms with these new realities and continuously finding hybrid strategies to navigate the blurred lines crisscrossing verite and satisfying the ever changing temperament of the digital world that is hip, fun-seeking, chaotic, multi-tasking, and attention sapping. For documentary filmmaking, digital technology presents a challenge and an opportunity that would either remarkably transform and redefine what passes as a documentary film or bury the art in its past. More than ever before there is a need to reinvent the art of documentary filmmaking within the space of the new elements that are dictating the trend of media consumption and experience globally. We are also conscious of the inevitable movement of Television broadcasting and services into full digital era as envisaged by the Nigeria Broadcasting Commission and that
quite a lot of African nations have set same 2015 as deadline for their full embrace of digital broadcasting on the continent.

irep 6Highlights of the festival will include film screenings, keynotes, panel discussions, producers’ roundtable, awards presentation, and training/workshops. This festival will screen over 40 films curated around themes and issues in Africa. It has become a tradition for the festival to engage Africa and Africans in self-conversation and create talking points that can bring insights on developmental issues in Africa. This edition of
the festival has deliberately allowed an eclectic selection of films addressing different subject matters and selected widely from different parts of the World, including USA, South Africa, Uganda, UK, Ghana,

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Cameroon, Kenya, Germany, Cuba, Canada, France, Nigeria, and many more.
The Producers’ Roundtable is a forum that bring international filmmakers and producers together in an extensive discussion that covers areas such as international collaborations and co-productions, film distributions,publicity and marketing, international best practices, and prevailing industry trends. This edition of the Producers’ Roundtable will explore the
opportunities that technologies bring to film distribution using case studies from very successful campaigns. The migration to digital broadcast by many countries in Africa will also be a cogent point of discussion, particularly on how documentary filmmaking can take advantage of the policy.

IREP 9 Every edition of the iREPRESENT International Documentary Film Festival, we recognize the industry and commitment of those who have made immense contributions to the discipline of documentary filmmaking in Nigeria; this cuts across different areas that facilitates the filmmaking process. In the last 4 years, iREP has trained close to 200 young and upcoming filmmakers in the art of documentary filmmaking. The 2015 festival will expand on what has been done in the past; the training will run for 4 days, offering intensive hands-on knowledge of filmmaking. The training is a two-tier documentary filmmaking course on “TELLING YOUR STORY IN THE DIGITAL SPACE” and “DISTRIBUTING YOUR STORY IN THE DIGITAL SPACE.” Our goal is to prepare the participants for the opportunities of digital filmmaking in a broad sense. We believe that Documentary filmmakers must become more flexible and invent new ways of telling stories across multiple platforms and immersive formats. The thrust for a post-modernist self-aware documentary film culture must find a space for itself in the digital agenda and marry creative storytelling with timelessness of issues that are yearning to be told.

 

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This fifth edition of iREP will interrogate how the documentary filmmaker is engaging his art within the digital space – can documentaries remain verite, or like beauty, what the truth will be in the eyes of the beholder?
We look forward to the activities and interactions of the 2015 festival with great excitement, and we hope strongly that as many people as possible would be a part of it.

For more info please visit www.irepfilmfestival.com

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