THE PROJECT
The Phd student Priscilla Manjoh at the Humboldt University is telling us in her first novel SNARE the dilemma of "Bushfalling" in Berlin megapolis
MAKING MOVIES FROM A PLACE, NOT JUST FOR AN AUDIENCE
This is the story of the legendary drummer of Alpha Blondy who has been living in Berlin for many years now.
How would i behave that day? The day when things are not anymore like they used to be? Should i wake up in the morning and do the usual things or i will do something different?​
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A CINEMA THAT CAN HEAL US
What could cinema do to us? Can cinema help us rebuild our psychic infrastructures destroyed by violence and trauma?
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NO FORMULAE FILMMAKING
Cinema is now ruled by screenwriting gurus receipes we see in each and every film. At the Film Fablab, no receipe is applied, each story needs to find it logic
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Making a film is making a contribution to the world. Adding to what is there or is not there. That's why we have to think the whole process through, from the idea to the audience.
THINK THE FILM FROM THE IDEA TO VIEWING
African cinema needs to define a project for itself.
We cannot abandon the whole african cinematography wandering between an desire for western acknowledgement, a desire of popular interest around the lowest common denominator and capitalism.
African cinema has many challenges to take up.
The first one is the universal, a universal that gives a direction to history in world where everybody represents Africa for himself , it is an imperative that Africa performs the act of repossession of the world.
African cinema has to suggest not just to africans nor only to humanity a civilisation project but also to animals, to plants and to the entire earth. It has to avoid the trap of autarchy and remain in connection with the “other”, a fruitful and mutual beneficial connection while walking towards autonomy without ignoring asymmetrical forces in our disfavour.
Another challenge of African cinema is is the one of the rebuilding our psychic infrastructures following the colonial history trauma made of denial, violence and shame. African cinema should be a cinema of resilience, a cinema that heals us. It should question our behaviour and deal with questions raised at the psychological level and at the level of our actions.
Finally, African cinema has a technological challenge that starts with our capacity to produce, maintain and make available the Africa visual memory as time is unfolding.
To take up all these challenges, african cinema should produce a language, a semantic and a semiology that offers to the world its life force. A cinematographic language that allows the continent to reinvent itself by staying away from the self-flagellation lexicon presenting us clique people with handicap who are missing nothing, people who have to catch up because they are behind…
African cinema in all lucidity and maturity and self-estime should find a way to tell our presence in this world without being reduced in problematics related to poverty. African cinema should be that companion of the continent movement, a continent busy “working”, an Africa that is screaming because it is giving birth.
Two children of the same African father and two different German mothers are forced by FIFA to choose between their father or their mother's country for their international football career.
"I was sent at a very young age to the Bellin Castle by Gustrow in GDR to be raised a with other children as pioneers of the future independant Namibia "
Making an adaptation of the novel SNARE by Priscilla Manjoh
Editing the SOULEYMANE, film footage produced by Barbel Mauch
Producing "Ich und meine DDR" of Oshosheni Hiveluah. The story of African children raised in GDR
When are new culture, new music, new language being born? Locked in a bar the whole night during a curview, young cameroonian talents are inventing the culture of tomorrow.
Two sexually disatisfied women but professionnaly sucessful decide to hire an African illegal immigrant as a boy toy. The two women take turn secretly hosting him at their homes.
Doing Post-production on the musical C'EST LE DEHORS about Cameroon new talents
Turning Inongo -vi - Makome novel NATIVES into a feature film set in Germany
THE AFRICAN CINEMA PROJECT
Shooting Jean-Pierre Bekolo's DIE ENTSCHEIDUNG
... and MORE....