Wishing my friend, a great director a happy and wonderful birthday .
He directed the film INVOCATION and FEMME that is touching life all over the world especially women
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
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.
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. firstname.lastname@example.org
For advertising opportunities in our Festival Program Brochure, please contact our Advertising Sales Coordinator at +234 818 315 1753. email@example.com
Advertising Media Kit
FILM & FOOD
For Film & Food Fundraising Party sponsor opportunities, please contact Marketing Coordinator at +234 818 315 1753 ; firstname.lastname@example.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.
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:
Institutsleiter / Director
German Cultural Center
‘Quality Content is Paramount’
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.
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.
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.
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.
“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
“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.
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.
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.
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.
Highlights 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,
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.
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.
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
Today is the birthday of Sharon Yvonne Stone an American actress, film producer, and former fashion model.
She is the producer of the film ”INVOCATION” An exploration of the notion of ‘God’ and World Peace through Religion, Spirituality, History, Science, Politics and Arts.
And also the film “FEMME” a documentary featuring interviews with 100 influential women from around the world. A celebration of women healing the world
Wishing her a happy birthday and many years ahead.
The women’s history month program organized by the US Consulate in collaboration with Access bank was a huge success.The Managing Director of Access Bank made a brief opening speech before the program started
Firstly it was a privilege that I was invited to this powerful and one of the most important burning issues concerning women in the world today.
The discussion was tailored to giving women support and encouraging them to be what they want to be without any prejudice. In our African society women are actually deprived their rights to assume some certain post and responsibilities in politics, corporate world and are not well regarded like a male child.
I must commend the organizers for having such a solid professional panelists in likes of Toyosi Akerele Ogunsip, Fela Durotoye, Adesuwa Onyenukwe and others for their contributions and their concerns over women and their dreams. A country can’t progress, if the women are not involved. Empower a woman and you empower a nation. Women should make the education of their children top priority because the success of any child depends on the mother’s input.
However Toyisi Akerele stressed that individuals should sustain their mentor, particularly older women mentoring the younger ones and the younger women should respect the older women.
In addition Fela Durooye spoke on the gender balance in all areas of profession because it has been notice that any organization whose work force has a large number of women do have better products and services .Women save better and they are good investors and managers.
Women should know their worth and demand their rights, they should not be afraid to walk away from opportunities when they are expected to compromise.
Another speaker discussed the issues and challenges confronting women in the society, giving example of Aba Women Riot of 1929, she said that women should have a united voice put aside their differences ,learn to synergize their resources to address issues concerning them. To aspire to attain common goals despite their cultural and ethnic differences. Women should learn and trust love and help each other. They should be catalyst for change help the less privileged rise above the marginalization and injustice in the society.
It was a fruitful discussion and the story of Chisholm Shirley was very inspiring to the teaming audience that attended the program,
Then the short movie “hear word” is a story we must take home because most rapist are relation of their victim’s not even strangers.
In all it was a very good forum to share experience and network. With people we met at the first time.
I want to thank the US Ambassador Jeffrey Hawkins for supporting this kind of contending discussion that hove around women all over the world and more importantly we must disseminate the information as wide as we can to touch and encourage women around us. WE SAY “WOMEN,MAKE IT HAPPEN”
IFFR 2015 Hivos Tiger Awards winners with Festival director Rutger Wolfson. Photo by Felix Kalkman
Hivos Tiger Awards, Fipresci Award, Big Screen Award, KNF Award, NETPAC Award, MovieZone IFFR Award handed out to 8 different filmmakers from across the world
Hosted by Festival director Rutger Wolfson, the IFFR 2015 Awards Ceremony was held this evening at IFFR’s main venue de Doelen. The three winners of the Hivos Tiger Award Competition prize were LA OBRA DEL SIGLO by Carlos M. Quintela,VANISHING POINT by Jakrawal Nilthamrong and VIDEOPHILIA (AND OTHER VIRAL SYNDROMES) by Juan Daniel F. Molero. Each was awarded a cash prize of €15,000. The FIPRESCI Award went to Isabelle Tollenaere for BATTLES. The Big Screen Award of €10,000 went to SECOND COMING by Debbie Tucker. The cash prize will go towards the costs of distribution in Benelux. The KNF Award went to Michael Noer for KEY HOUSE MIRROR. The NETPAC Award for the best Asian feature film screening in Official Selection went to POET ON A BUSINESS TRIP by Ju Anqi. The MovieZone IFFR Award chosen by the young people’s MovieZone jury from EYE went to James Napier Robertson for THE DARK HORSE.
On announcing the awards Wolfson commented “There were so many intriguing, thought provoking, passionate films in our selection this year. We hoped and expected much healthy discussion around the line-up and we weren’t disappointed. Congratulations to the winners and just as importantly congratulations to all films in our Official Selection this year. We are proud to boast you were part IFFR 2015.”
HIVOS TIGER AWARDS
The Hivos Tiger Awards Competition jury was comprised of writer, director and producer Rolf de Heer, producer Ichiyama Shozo, director Maja Miloš, art photographer and director of Spanish Film Archive Jose Maria Prado Garcia and actress Johanna ter Steege. On making their decision they commented “In dealing with both living and broken dreams, LA OBRA DEL SIGLO (Carlos M. Quintela) confronts themes both intimate and epic. With its wonderful performances, with its humour and poignancy and boldness of execution, the film resonates with history.” “VANISHING POINT (Jakrawal Nilthamrong) combines and juxtaposes image and sound to create a powerful style. It grapples with ideas and story-telling in a provoking and different way, making it a visceral cinematic experience.” “Juan Daniel F. Molero’s VIDEOPHILIA (AND OTHER VIRAL SYNDROMES) explores the relationship between the young and the rapidly changing world with unflinching truth. Its anarchy and visual flair reflect its subject matter. The film dives deep into disturbing, necessary waters.”
The IFFR 2015 FIPRESCI Award is given to a filmmaker with a World Premiere in the Bright Future section by a jury comprised of five international journalists and members of the FIPRESCI (International Federation of Film Critics). Jury president Roger Koza, (Argentina), Caroline Weidner (Germany), Anita Piotrowska (Poland), Tara Judah (Australia) and Jan Pieter Ekker (The Netherlands) on making their decision commented “BATTLES is a unique visual essay that blends elements of fiction with a more traditionally structural documentary style. Each chapter builds upon the last without being prescriptive. The ambiguity, universality and performance elements lend the film a powerful, lasting effect. Tollenaere’s original examination of the traces of war and persistence of the past create a striking imaginary landscape. With its piercing sound design and impressive cinematography, the film offers a fresh perspective on the naturalisation of the culture of war. A strong debut, Tollenaere’s well-crafted mise-en-scene displays a clear talent for cinematic language and she definitely has a bright future.” The three winners of the Hivos Tiger Awards 2015 were supported by the Hubert Bals Fund.
BIG SCREEN AWARD
Nominated for this prize are ten films with no Benelux distributor confirmed at the time of its selection to screen at the Festival, the winner is selected by an audience jury comprised of experienced and passionate film enthusiasts. Ten fresh discoveries from the festival’s main sections Spectrum and Bright Future compete for both The Big Screen Award and the KNF Jury Prize. On selecting Debbie Tucker for SECOND COMING the jury commented “SECOND COMING shows the daily life of a middle-class Jamaican family in London, focusing on life as it is. Daily happiness combined with daily problems. The viewer gets the feeling that he is part of the family, the way of life of this family is recognizable to everyone. The house is furnished in a way we see around
IFFR 2015 Audience Awards Announced
James Napier Robertson wins second IFFR Award for THE DARK HORSE and LOS HONGOS collects HBF Dioraphte Award
The awards, as voted for by the public audience attending the Festival, were announced this evening at the IFFR 2015 Closing Night Ceremony, hosted by Festival Director, Rutger Wolfson and Managing Director, Janneke Staarink. James Napier Robertson was awarded the IFFR Audience Award 2015 of €10,000 for his film THE DARK HORSE. The award is Napier’s second of the Festival following the MovieZone IFFR Award which was presented on Friday, January 30th at the IFFR Awards Ceremony. The Hubert Bals Fund Dioraphte Award, also of €10,000, presented to the most popular film which received support from the Hubert Bals Fund (HBF) went to Oscar Ruiz Navia for LOS HONGOS, an autobiographical drama centering on the youth culture of Cali, Colombia.
THE DARK HORSE LOS HONGOS
On the announcement of the IFFR Audience Award 2015 Wolfson commented “The audiences who come from all over the Netherlands and around the world to participate in the Festival and explore our diverse, thought provoking programme are integral to IFFR. It would not be the special Festival it is without them so we would like to thank all who joined us in celebrating cinema this year and of course congratulations to James who created a wonderful, personal film.”
On the announcement of the Hubert Bals Fund Dioraphte Award, Manager of the Hubert Bals Fund, Iwana Chronis commented “I am thrilled with the reception the HBF supported films received throughout the twelve days of the Festival. Oscar Ruiz Navia is a talented filmmaker with a long and successful career ahead of him, this recognition is fully deserved, we are so pleased to have been a part of helping getting this film to the big screen.”
A highly acclaimed drama, THE DARK HORSE tells the true and moving story of Genesis Potini, who fought for the future of disadvantaged children in New Zealand until his death in 2011. In spite of his own bipolar disorder, he taught them to play chess and fight for opportunities. THE DARK HORSE is both amusing and raw, and above all intensely moving. Born in New Zealand, director James Napier Robertson made a name for himself in the world of television before switching to cinema. He appeared as an actor in the series THE TRIBE and SHORTLAND STREET. He directed his first feature film I’M NOT HARRY JENSON in 2009.
Directed by Oscar Ruiz Navia, LOS HONGOS is an autobiographically inspired drama based around two skater friends who are at the heart of the colorful, noisy street and youth culture of Cali, Colombia. With a warm heart, Ruiz tells the story of Ras and Calvin, who are looking for their own voice, a stage and of course freedom, love and fun. Born in Colombia, Oscar Ruiz Navia’s debut film CRAB TRAP won a Fipresci Award at the Berlinale in 2010. Prior to that he was focused on the development and production of independent cinema in Colombia and founded the production company Contravia Films having previously studied Social Communications and Journalism.
Top 5 Audience Award IFFR 2015
1. THE DARK HORSE
2. THE FAREWELL PARTY
3. LOIN DES HOMMES
4. LA VIE DE JEAN-MARIE
5. ALICE CARES
Top 5 HBF Dioraphte Award 2015
1. LOS HONGOS
2. LA MUJER DE LOS PERROS (DOG LADY)
5. THE TRIBE
The full list can be found on the Festival’s website:
The Hubert Bals Fund (HBF) is an initiative of International Film Festival Rotterdam. The Fund has been designed to offer financial support to remarkable and unique feature films by talented filmmakers from Africa, Asia, Latin America, the Middle East and parts of Eastern Europe. Since its creation 26 years ago, over 1,000 projects from over 100 countries have received support from the HBF. As of 2015, the HBF provides support in the following funding categories:
• HBF Script and Project Development (max. €10,000)
• HBF Postproduction (max. € 20,000)
• NFF+HBF – A minority co-production programme for Dutch producers- in collaboration with the Netherlands Film Fund (€ 50,000)
• HBF+Europe – Minority co-production support (€ 55,000)
• HBF+Europe – Distribution support for international co-productions (€ 20,000)
The HBF is funded by the Creative Europe – MEDIA programme of the European Union, the Dutch Ministry of Foreign Affairs, Hivos, the Dioraphte Foundation, the Tiger Friends Foundation and the Lions Club Rotterdam: L’Esprit du Temps. Information about the Fund and the application procedures can be found via
International Film Festival Rotterdam (IFFR) offers a high quality line-up of carefully selected fiction and documentary feature films, short films and media art. The festival’s Tiger Awards Competitions, Bright Future, Spectrum and Limelight sections contain new work by auteurs from all over the world including many World Premieres. In the Signals section, IFFR presents retrospectives and themed programmes. IFFR actively supports new and adventurous filmmaking talent through numerous industry initiatives including co-production market CineMart, its Hubert Bals Fund and Rotterdam Lab.