WHEN NOLLYWOOD INVADED PARIS

Those who were slightly familiar with my artistic preoccupation, have asked me "what is it exactly that might have propped the mind of a dancer/choreographer, with such an outrageous touring calendar, that turns him into a die hard fan of Nollywood?" 
It is indeed a curious case, but there is surely an explanation, i take it therefore that, since I deal with body movements, with the texture and architecture of moving bodies on stage, and cinema on the other hand, deals with motion pictures in frames, meanwhile, the stage, just like cinema plays with the tones of light, shadows and color. As a dancer, I've told stories with my works, just as cinema does; so, in that magical territory of visual spectacle and of story-telling, you can see that I am not a learner.

As a creative artist however, raised on Nollywood stories in Lagos, a professional life in Paris and across the globe, has made the dream of a different utopia evident for me, with few friends we have previously organized a tour around six African cities, for a documentary film project i titled "Do We Need Coca Cola to Dance?" The title alone attest to my never ending quest for fresh air, for a different story and evidently; a different utopia. Then a strange idea came; NollywoodWeek in Paris.

Just the sound of it give hints of a wonderful thing. The nollywood story is by any consideration a most phenomenal story, for an industry that began almost by accident, and has not benefited from any official nor foreign support. A totally homegrown industry. Nollywood has created its proper commercial path, through popular and old fashion manner of reaching out from doors to doors, it has therefore, positioned itself as the legitimate business model, for the way Africa must position itself within global negotiations. 

Nollywood now prides itself as the first homegrown african initiative with a global appeal. Everywhere you travel these days, you will realize that Nollywood have been there before you. Therefore the question for me was, what should a NollywoodWeek Paris be like? Because a phenomenon like Nollywood, More than a Festival, the appropriate gesture must be that of gratitude, that is, a wonderful occasion to say thank you to all those who dreamt what was to become Nollywood today, This enormous success of the contemporary Nigerian cinema, has made a complete redefinition of contemporary African art. Without any formal schooling, without recourse to foreign assistance, without the benefit of hefty budgets or of any of the dazzling gadgetry of Hollywood, Nollywood outstrips all its former predecessors, within the first two decade of its birth, and initiated a completely novel cinematic genre in global media. 

It is indeed a story to marvel about, worthy of celebration and sharing with the world, that a group of half-literate dramatists of the popular traveling theatre tradition, seeing their trade tottering on the brink of extinction, because of the harsh economic policies of the 80s, could, out of desperation, seize the opportunity of newer technologies, and, in alliance with small-scale entrepreneurs, they harnessed it with such inventiveness, and now their successors have tirelessly turned it into a multi-million naira film industry, whose products have almost completely displaced the far more sophisticated, far more technically competent products, of Hollywood and Bollywood. 

Between May 30 to June 2nd, YK Projects presented the first edition of NollywoodWeek in Paris, at the Cinema l'Arlequin, in the heart of Paris, France. We gathered around 1500 spectators from around the world. In addition to having access to watch the most recent and talked about films from Nigeria on the big screen, seven movies were screened; MAAMi, PhoneSwap, IJE, INALE, Tango With Me, Last Flight to Abuja and Man On Ground. Our festival attendees also had the opportunity to meet the directors, producers, actors, scholars and French based film industry professionals during conferences and Q&A sessions held throughout the festival. 

For four days, Parisians celebrated Nigerian cinema and voted the film Phone Swap by Kunle Afolayan as the Public Choice Award winner for this first edition of NollywoodWeek. With the added Nigerian touches throughout the weekend, from Nigerian cuisine at the 'Lagos Lounge' to live musical performances, including a surprise session from Keziah Jones on the Opening Night, many walked away feeling this event was a success. As we celebrated however, we were equally aware that we are simultaneously responding to the increasing global curiosity for Nollywood movies. With this festival we have been able to speak to millions of Parisian cinephiles, who are so much in deep need, and deep thirst of a different utopia; watching stories, films, images, made by people who they share imaginations, questions, thirsts, needs, and dreams with. 

Lastly, We at Yk Projects are very much honored to present the best of New Nollywood to an entirely new audience, to make a resounding echo of all those who worked so hard to make the dreams become films; to be watched all over nigeria, all over Africa and throughout the world. With this new platform, we also hope to create an annual hub, for all those scholars, journalists and researchers who have taken their time, to record and document a phenomenon that is constantly changing and constantly evolving. And to make it a legitimate meeting point between actors, directors, producers, co-producers, distributors and other industry professionals to exchange, to inspire one another and eventually, do things together.

Qudus Onikeku
Founder and Artistic Director
YK Projects
Co-founder and Artistic Director
NollywoodWeek Paris. www.ykprojects.com | www.nollywoodweek.com

Filming in SOUTH PACIFIC/ VANUATU/ PENTECOST ISLAND

                          

Filming in SOUTH PACIFIC/ VANUATU/ PENTECOST ISLAND land divers!!! check out the jump

"Technically, the time of yam harvest is significant because tower construction is best done during the dry season. The vines are selected by a village elder and matched with each jumper’s weight without any mechanical calculations. The vines need to be supple, elastic, and full of sap in order to be safe. The ends of the vines are shredded to allow the fibres to be looped around the ankles of the jumpers. If the vine is too long, the diver can hit the ground hard, but if the vine is too short, then the diver can collide with the tower. During the jump, the platform supports snap, causing the platform to hinge downward and absorb some of the force from falling. Before diving, the men often bring closure to unsettled business and disputes in case they die. The night before the jump, divers sleep beneath the tower to ward off evil spirits."

THE KALASHA AND THE CRESCENT : BY IARA LEE

                     
  

IARA LEE filmed the KALASH indigenous resistance movement in northern PAKISTAN with the hope of opening a debate about the challenges facing the Kalash culture today. Her new short THE KALASHA AND THE CRESCENT will also be used as tool to launch a full length documentary, to be made by Kalash archeologist and NATIONAL GEOGRAPHIC 2013 emerging explorer SAYED GUL, who will be filming her community's struggle with the hope of bringing awareness and engagement from the int'l community to support this vibrant but threatened culture!

Diepe Grond - to premiere at Durban International Film Festival

African Gothic  

A new film based on Reza de Wet’s master piece – 

Diepe Grond - to premiere at 

Durban International Film Festival

African Gothic, a bold new international film version of Reza de Wet’s iconic masterpiece, Diepe Grond, will have its South African and African premiere at the Durban International Film Festival in July.

African Gothic is a gritty, poignant drama set in a decaying farmhouse in the desolate heart of the parched Free State, about a dangerous and passionate relationship between deeply troubled lovers, their benign domestic worker and a hapless lawyer who pays them a visit. The production features two South African-born actors from Johannesburg who play the pivotal roles of Frikkie and Sussie: Damon Shalit plays the menacing Frikkie, and Chella Ferrow plays his beautiful and complex, sweetheart from childhood.

Shalit also wrote the screenplay and produced the film, which is directed by Gabriel Bologna. Shalit performed in the LA premiere of the play in 2005. Shortly thereafter he began writing the screenplay – a process, which was endorsed and supported by de Wet.

“After performing in the play, I felt compelled to embark on the journey to create the film.” says Shalit. “I was fortunate enough to be able to work directly with Reza de Wet in developing the screenplay, a somewhat daunting task as the play is such an iconic piece of theatre. The challenge came in how to take the play, set in one room, and expand it into a cinematic experience. So it was invaluable having her insightful input into this process.”

“When I read the screenplay of which Damon took pangs to stay true to the original text, I was surprised to discover that such a dark milieu and context was completely overshadowed by a deep love story. Aside from the spectacular symbolisms throughout the piece that represent the insidiously complex and dark legacy of Apartheid, there is a remarkable revelation about the nature of love itself: what unites people is not necessarily their common interests and pursuits, but in fact, their grief, their pain,” explains Bologna. 

“What makes Frikkie and Sussie’s bond so strong is the mutual abuses they shared in their childhood - only they and they alone could understand one another, as their love was consecrated by the same scars, both emotional and physical.  Surprisingly, in some strange way, we are all like Frikkie and Sussie – our true search for love lies in finding someone who not only understands our joy, but even more so, our pain,” he said.

“Reza de Wet, was one of South Africa’s most celebrated authors, who has won more theatre and literary awards than any other playwright. Though, sadly, she passed away last year, she has left behind a legacy in her native country of leading an artistic war against Apartheid.  When the government censors were clamping down on news, television and film, Reza led a hand-full of playwrights into a thriving artistic movement called, Theatre of the Struggle,” he explains. 

“We are passionate about this story, and very excited about it coming to Durban, as it has a meaningful context in South Africa,” says Chella Ferrow who plays Sussie. “Reza de Wet wrote such powerful and courageous stories, and we are so proud to be bringing African Gothic to life on screen. When I think of her writing such a bold and daring piece during a time of so much oppression and secrecy, I am in awe. Her writing is extraordinarily fearless and potent in commenting on the complex nature of society and morality at that time.” 

Frikkie and Sussie are carefully-crafted, fascinating characters – complex, intriguing, gritty and feral. Visually and emotionally, they would not be out of place in a Roger Ballen photograph. Their complexity and depth make them a challenge to perform.

It is hugely significant that this important piece of South African theatre will be seen by a new international audience, and that the pivotal characters of Sussie and Frikkie will be played by South African actors who have carved a career for themselves in Hollywood. 

Shalit was born and raised in Linksfield, Johannesburg before moving to Houston with his family in his early teens. Ferrow grew up in Johannesburg and studied psychology through Wits and Unisa. She then moved to London in 1998 to do a post-graduate in acting. She has been living in New York for the past 11 years.

They are supported by established British actor Jonny Coyne, who plays the ill-fated Mr Grove, who was most recently seen in Hangover Part 3 and Gangster Squad; and  Alina, the housekeeper, played by US singer / actress Connie Jackson who was in Dreamgirls on Broadway and has been a backing vocalist for Phil Collins. The young Frikkie andSussie are played by youthful Cape Town-born, UK based-actor David Verne, and Los Angeles musical-theatre performer Aviv Gadi. The parents are played by former South African actors, Glen Anthony Vaughan – who spent many years at PACT - and Maria Olsen, who moved from East London to Los Angeles in 2005. 

Director, Gabriel Bologna, worked as an actor with the likes of Francis Ford Coppola and Mark Rydeland, Dick Van Dyke, before turning to writing and directing with his most recent film being Black Waters of Echo Pond. He is son of Hollywood legends, Joe Bologna and Renee Taylor.

“Like so much of film making, this has been a true labour of love and remarkable creative collaboration,” says Shalit. “Our film is not mere film adaptation of a play, but a wide-reaching artistic achievement that will hopefully spread global awareness about Reza de Wet, one of South Africa’s greatest playwrights, who died last year.”

African Gothic will have its South African premiere at the Durban International Film Festival. It is a joint SA and US production.  Visit www.africangothic.com for more info. 

The Durban International Film Festival takes place in Durban, South Africa from July 18 to 28. African Gothic will be screened at 20 July 12:00 at Musgrave Ster Kinekor; 24 July 15:30 at Ekhaya Multi-Arts Centre; 25 July 18:00 at Suncoast Cinecentre. For more info go to www.durbanfilmfest.co.za

Oxfam’s To-Do List for President Obama's Africa Trip

 

Oxfam is urging President Obama and African leaders to make bold commitments to help transform African institutions into models of transparency and accountability over the next decade as billions of dollars in aid flows and oil, gas and mining revenues pour into the continent, affecting millions of lives.

With the President and First Lady Michelle Obama scheduled to travel to Senegal, South Africa and Tanzania over the next few days, the time is now to address the continent’s continued economic development, said Raymond C. Offenheiser, President of Oxfam America.

“President Obama got it right in Accra in 2009 when he said Africa's future lies with Africa's institutions. Now it’s time for the President to help Africa realize its full potential by investing directly in local governments and citizens, helping to increase transparency of budgets, extractive industry revenues, and tax systems for governments,” said Offenheiser.

Over the next decade, more than $1 trillion in natural resources will be extracted from the African continent. Currently, Africa exports more than $300 billion a year in oil, gas and mineral exports—more than four times the amount of aid the continent receives. But that money is not building roads, schools and hospitals for Africa’s people. In fact, booming extractives industries often lead to more poverty and powerlessness. The people of Kedougou, Senegal, for instance, live atop a large scale gold-mining operation. But despite the riches found in their soil, none of it has been returned to their community.  Many have lost access to the agricultural land that sustained their families, and many others did not even receive adequate compensation when they were forced off their lands without consultation.

Millions of people living near oil and mining sites, like those in Kedougou, struggle to survive on less than $2 a day. Instead of opportunity, this resource curse delivers environmental damage, loss of land and human rights abuses.

“I urge President Obama to shine a bright light on the current lack of transparency and accountability that perpetuates cycles of poverty and inequality in developing African nations,” said Offenheiser. “Tell your African counterparts to work to increase transparency in their budgets. Open payments from oil and mining companies to the light of transparency. Give African citizens knowledge about revenues from oil and mining companies. Let those citizens decide how to put their money to work for their own futures—let them claim their rights and fight for their own development.”

It’s time to lead by example, continued Offenheiser.

“President Obama should publicly announce when his own administration will release U.S. government aid data, setting a tone on institutional transparency. As one of the largest aid donors in the world, the United States shouldn’t be one of the least transparent.”

Souleymane Zeba, West Africa Regional Director of Oxfam, added, “The resources generated by extractives industries should be helping local communities build resilience against climate and food security shocks, particularly in the Sahel where recurrent food crises are epidemic."

Offenheiser sees even greater potential for agriculture in Africa, with the right investments. 

“The President’s Feed the Future Initiative recognizes the central role that agriculture can play in driving economic growth and poverty reduction, but initiatives like the New Alliance for Food Security and Nutrition, which promote private sector investment in select African countries, must not distract from badly needed development aid to this critical sector,” said Offenheiser. “The President must address legitimate concerns raised by civil society organizations about this initiative.”

In South Africa, Oxfam urges President Obama’s continued support for community-led accountability mechanisms.

“President Obama’s support for our HIV/AIDS response has been immensely important for South Africa’s continued efforts to realize the ambitions of a democratic, people-centered South Africa,” said Allan Moolman, Oxfam’s Country Director in South Africa.

…

 

 

 

THE MIND-GAME TEASER

 Produced by Paul Omoruyi

OMOTOLA'S HOLLYWOOD DEBUT

SHAMEFUL DECEIT PRESS CONFERENCE OR GANISED BY MY TRINITY MAGAZINE.

As Africans, one of the first things, we've been taught is not to disgrace our family, at whatever cost. We grow up with that mentality and unfortunately this means a lot of things are swept under the carpet at home. We cling onto taboos and limit ourselves in educating lives on the controversial issue we refuse to acknowledge as most talk about. We'd rather hide things under the surface and fake a smile and pretend everything is okay so "my neighbour doesn't laugh at me."

I went to a screening of a new Nollywood movie

Shameful Deceit and after briefly watching and speaking to the producers, cast and crew, etc. I whole heartedly applaud the whole crew on the storyline and the whole idea behind the movie.

African movies have a trend of imitation-no offence intended to anyone- but I personally find myself knowing how the story will unfold before it begins!

With shameful deceit, I was intrigued, shocked, interested and happy, even happy that issues like this are being exposed to our audiences, communities, people, and the world!

Finally, a movie with a message! Educational message! Not another love story!

The movie achieved its aim of raising awareness on controversial issues that we refuse to talk about because we're scared of what people will say and in most cases, the victims are made to believe that they are actually the offender, and it's their fault... The movie does a good job of erasing that theory and also advising victims of what they can do to get help if they find themselves in such situations...

Want a movie that's going to shock you and educate you? Are you  tired of watching love sick men and women and want to hear a silenced angle of our culture? How shameful can a deceit be? “Shameful deceit” a must watch film.

This movie was produced by Theodora Ibekwe and Directed by Ruke Amata,The London Premiere of this movie will take place on the 5th of July,2013@ the Odeon Cinema in Greenwich, Red carpet starts at 8pm.

Written By  Sunday Olorunshola & Haddy Ndure

EKO INTERNATIONAL FILM FESTIVAL ANNOUNCES SUBMISSION OF FILMS FOR HER 4TH EDITION 2013

                  

                  THE ROUTE movie official trailer.. Directed by: Jayant Maru.

                       

P-Square NEW video PERSONALLY

           

MUHAMMADU BUHARI AND HIS SUPPORTERS :2015

By Larry Chukwuma Chime

I have now completely given up on the sanity of Muhammadu Buhari AND HIS SUPPORTERS. It is only in Nigeria that a man who embezzled N2.8 billion NNPC money while he was Federal Commissioner of Petroleum in 1978 will be cited as being better than others and have the effrontery to criticise other leaders. It is only in Nigeria that a man who led the criminal overthrow of a democratically elected government in 1984 would later wish to benefit from the same democracy. It is only in Nigeria that the man who, as Head of State, allowed 56 illegal suitcases of currency notes into the country through his ADC unchecked when there was currency change by his own government in the country at the time would be 'better than 100 Jonathans'. It is only in Nigeria that the man who enacted RETROACTIVE DECREES and used them to murder Lawal Ojuolape, Bartholomew Owoh and Bernard Ogedegbe would open his tribalistic mouth to criticise others. It is only in Nigeria that the man who enacted vindictive decrees which prescribed long jail terms for journalists for publishing stories which embarrassed government officials even if the stories were true resulting in the illegal jailing of Tunde Thompson and Nduka Irabor now wants to rule the country. It is only in Nigeria that the man who was overthrown in 1985 by Babangida and spontaneous jubilations erupted all over the country would have the guts to seek to replace people who are far better than he. It is only in Nigeria that the man who later accepted appointment as PTF Chairman under the MOST CORRUPT government ever in Nigeria's history and then commandeered more than 200 PTF vehicles for private use in his home in Kaduna would not be in jail today and would be described as being better than others. It is only in Nigeria that the man who embezzled billions of Naira of PTF funds through overinvoicing of contracts and the supply of fake drugs to hospitals, as sworn to in an affidavit by Group Captain Usman Jibrin, a board member of PTF, would be described as better than the man who is actually trying to clean up the rot that he and his other military despots created. Remember, he later said that Abacha did not loot anything from Nigeria!

 It is only in Nigeria that the man who lost election to only one Jonathan (not 100) and incited his supporters to violence which claimed the lives of innocent people including NYSC members has the nerve to still open his bigoted mouth and criticise actions designed to stop continued madness. It is only in Nigeria that a former Head of State would ask Muslims not to vote for Christians and, when he is criticised, would later lie on Radio Nigeria, Kaduna, that what he meant was that Muslims should vote for only those who can protect their religion. It is only in Nigeria that a former Head of State would refuse to condemn Boko Haram murderers in their evil activities including bombing innocent Christian worshippers in churches but is quick to support amnesty for the same murderers. It is only in Nigeria that a former Head of State will speak bitterly against a State of Emergency designed to root out monstrous criminals but turns around to advocate finishing off Ombatse cult members who have done exactly the same thing as Boko Haram. It is only in Nigeria that a former Head of State CANNOT speak or write simple and correct English and prefers to speak vernacular most of the time and then his supporters would insist that his meaning was lost in translation and he is better than a hundred Jonathans!. When this mad bigot overthrew Shagari in January 1984, he, out of crude tribalism, put President Shagari (who, according to late Saraki, presided over most of the shady NPN deals under his watch) under mere house arrest but clamped Vice President Ekwueme(who the tribunals later said was squeaky clean) into Kirikiri like a common criminal. Not done with this naked tribalism, Muhammadu Buhari sent soldiers to ransack Awolowo's residence in Ikenne and harass his household even though Awolowo was not a member of the government that was toppled. Believe me, any objective, dispassionate analysis of Buhari's activities must surely come to one conclusion and one conclusion only, namely: The only set of people whose IQ is lower than that of Muhammadu Buhari are his supporters.

34th DURBAN INTERNATIONAL FILM FESTIVAL 18-28 JULY 2013

2013 sees the Durban International Film Festival (DIFF),  with principal funding by the National Lottery Distribution Trust Fund, return for its 34^th year to celebrate the beauty and diversity of global cinema. From 18 to 28 July, Durban will be illuminated by the glow of the silver screen, with over 250 screenings in 11 venues across the city. Alongside this smorgasbord of the best of contemporary cinema from around, comprising 72 feature films, 48 documentaries and 45 short films, the festival offers a comprehensive workshop and seminar programme that facilitates the sharing of knowledge and skills by film industry experts.

African Focus

The burgeoning African film industry will once more be represented at DIFF 2013, although South African film retains the key focus, with 12 feature films, as well as 16 documentaries and a generous helping of short films – most of them receiving their world premiers on Durban screens in July.

This year's opening night film is the ground-breaking African-noir work Of Good Report by filmmaker-on-the-rise Jahmil XT Qubeka. Telling the story of a serial killer obsessed with beautiful young girls, the film expands the language of African cinema. The festival’s closing film acknowledges Angela Davis, an important figure in the African diaspora, with the film Free Angela - and all political prisoners, directed by Shola Lynch.

High-profile South African films being showcased include Layla Fourie (which received its world premier at Berlin earlier this year), The Forgotten Kingdom which is set in the movingly beautiful landscape of Lesotho, Felix, which tells the story of a young township boy intent following his dreams of being a musician, and The Good Man, an intriguing look at a globalised reality.

Other local films include Everyman's Taxi Ian Robert's anarchic celebration of the new South Africa, Andrew Worsdale's long-awaited Durban Poison and Khumba, the latest outing from Cape Town animation studio Triggerfish that won best South African film at DIFF 2012 for Adventures in Zambezia and has gone on to widespread commercial success around the world. Blood Tokolosh tells the disturbing story of a man who finds himself under the spell of the mythical Southern African creature, while Angel of the Sky reprises the role of South African pilots during the second world war. Actorholic comes from Oliver Rodger, who gave us last year's Copposites, and African Gothic is a US/South African co-production based on the Reza de Wet play Diepe Grond.

From further afield, DIFF 2013 presents a number of cinematic gems, most of which are engaged in expanding the language of African cinema while dealing with significant issues around life on the continent. Tall As The Baobab Tree, from Senegal, tells the story of a poor couple who try to sell their daughter off into a forced marriage. Yema, from Algeria, tells the metaphoric story of a how a mother's relationship with her sons is defined by war and violence, while Virgin Margarida chronicles a dark chapter in Mozambican history. The Battle Of Tabato is a fascinating blend of history, music and surrealism while Le Presidente bends the form of the fiction film while asking fascinating questions. Something Necessary chronicles an intimate moment in the lives of two people from very different sides of history, while It's Us deals with tribalised violence in Kenya with hope and vibrancy.

Contemporary Europe

This year’s programme showcases the multiple perspectives that define the cultural landscape of contemporary Europe and, and the diverse ways in which the continent's narratives are rendered. With support from organisations and partnerships such as EUNIC, World Documentary Exchange and Festival Scope, audiences can expect a feast of top class European films including the new Sally Potter film Ginger and Rosa which tells the story of two close friends during the liberal years of the 1960s. The Look of Love is the new film from DIFF regular Michael Winterbottom while Me and You is the first film in more than a decade from master filmmaker Bernardo Bertolucci. These are just a few of the European feature films which will showcase the power of European cinema at DIFF 2013, and which will be accompanied by a wealth of European-produced documentaries.

American Independents

While mainstream American cinema is often derided for dominating the global culture, the country is also home to a wealth of independent filmmakers who struggle against the monolith of Hollywood as much as filmmakers anywhere in the world. DIFF 2013 offers a showcase of this strong strand of independent filmmaking including Wrong the latest film from Quentin Dupieux who gave us the DIFF cult-hit Rubber in 2011 and Spring Breakers from Harmony Korine, the enfant terrible of American independent cinema. Francine tells the small and delicately drawn story of a socially inept woman who has just come of out prison, while The Place Beyond the Pines is the highly anticipated new drama from director Derek Cianfrance  who gave us Blue Valentine.

Sexual Identities

This year DIFF acknowledges the wide diversity of sexual identities being explored prolifically on contemporary screens, no doubt a reflection of a global trend towards a broader dialogue around sexual difference. From Dennis Cotes drama Vic+Flo Saw a Bear which chronicles the relationship between an ex-convict and her much younger lover to the documentary Valentine Road which provides a sociological post-mortem on the death of a young transgender boy to Interior. Leather Bar which examines contemporary masculinity through reconstructing a censored scene from the 1980 Al Pacino film Cruising, DIFF 2013 explores a very broad continuum of sexuality. Laurence Anyways tells the sprawling but immaculately rendered tale of a transgendered man and her female lover. Dust presents a diverse group of siblings forced to confront their unfulfilled lives while Two Mothers portrays the difficult involved in a gay couple adopting a child in progressive Germany.

In keeping with a broad acceptance of diversity, DIFF's focus includes not only GLBT sexuality but also an exploration of heterosexuality in films such It Felt Like Love in which a young girl is determined to lose her virginity and The Future in which a young girl becomes a sexual companion to a blind former action hero. Una Noche tells of two Cuban boys, one of whom has unrequited feelings for the other, as they attempt to escape across the ocean to Miami.

Documentaries that deal with sexuality gender include Pussy Riot - A Punk Prayer, I Am Divine a biopic about the gender-bending singer and artist Divine and Born This Way, about the lives of gay and lesbian people in Cameroon. Then there is the short film Atlantic Avenue which deals with the sexual attraction between a young man and a physically challenged woman.

ZombieFest!

With literally hundreds of Zombie films currently scheduled for release around the world, DIFF 2013 showcases a selection of films from the current Zombie wave. Headlining this mini-focus area is the long-awaited remake of the Evil Dead which conforms in many ways to the classic zombie genre, as does Zombie Fever 3D, one of the first zombie films from Russia, although its tongue is planted deeply in its cheek. On a more serious note, there's the slow, mournful and thoroughly beautiful Halley which tells of a man whose body is rotting away. Frankenstein's Army tells of a secret Nazi lab in which all manner of strange machines have been stitched together with human bodies. Then there's Harold's Going Stiff, an ultra-dry British zombie comedy with a big heart.

World Cinema

As well as these focus areas, DIFF 2013 offers a host of award-winning films from around the world, including works from many of contemporary cinema's great masters. From Chinese director Wong Kar Wai comes The Grandmaster, which opened Berlin earlier this year, while Canadian director David Cronenberg descends once more into the darkness with Cosmopolis based on the Don deLillo novel. Takeshi Kitano, the king of stylised violence, delivers Outrage Beyond, while the enigmatic Closed Curtain comes from banned Iranian filmmaker Jafar Panahi. Deepa Mehta gives us a gorgeously sprawling rendition of Salman Rushdie's Midnight's Children while Danish dogma director Thomas Vinterberg's The Hunt will chill you to the bone. Then there's the exciting news that Ashgar Farhadi,  whose A Separation  won both the best Foreign Picture Oscar this year as well as best film at DIFF, returns with his latest film The Past.

Feast of Doccies

In addition to the best fiction features from around the world, DIFF 2013 has a wealth of documentaries to satisfy a broad spectrum of tastes and interests. And of course, there's a strong selection from South Africa, where the documentary form is growing in stature and volume. Riaan Hendrick's  The Devil's Lair transports us deep into a claustrophobic drug den on the Cape Flats, while celebrated local documentary-maker Damon Foster gives us a window into the lives of crocodiles with Touching The Dragon. Angels in Exile is a moving documentary about two proud yet impoverished children who live on the streets of Durban and The Creators pays tribute to the creative power of South Africa's youth, including acclaimed graffiti artist Faith 47. From further afield, Drama Consult tells the cannily directed story of Nigerian entrepreneurs heading to Europe to explore the possibilities of economic co-operation, while African Metropolis is a collection of short slices of reality from around the continent. The Spirit of 45, from British feature director Ken Loach looks at the enduring influence of the labour movement during the war years while More Than Honey looks at the importance of maintaining the earth's bee population. Algorithms presents the riveting story of blind chess players in India and Fidai is a very personal story set against the Algerian battle for independence.

Wavescape Surf Film Festival

For the ninth year, DIFF partners with Wavescape to bring you a feast of surfing cinema and shark stories including 11 features and 5 shorts.  Bending Colors (Jordy Smith) chronicles the rise South Africa’s prodigal son who goes from teen sensation to world super star. In  Revolution true life adventurer Rob Stewart goes on a mission to reveal the rapidly deteriorating circle of life on planet earth while The Heart and the Sea is a soulful and unpretentious tribute to the surf lifestyle. Other Wavescape films, including Immersion, Desert Rebels and Water From the Moon, take us around the world for some of the sickest waves on the planet.

Wavescape opens with a free outdoor screening at the Bay of Plenty Lawns on Sunday 21 July, before locating at Ster-Kinekor Musgrave Monday 22 July to Friday 26 July.

The Films That Made Me

For the first time this year, DIFF presents a repertory section in which film fans and filmmakers have the opportunity to access a slice of film history. In The Films That Made Me, South African director Jahmil Qubeka presents five films that have been influential in his growth as a filmmaker. The five films that he will present are: Oliver Schmitz's Mapantsula, Akira Kurosawa's Ran, John Schlesinger's Midnight Cowboy, Jean Jacques Annaud's Quest for Fire and Godfrey Reggio's Koyaanisqatsi. After each screening, Qubeka will lead a discussion regarding the importance of the film. These screenings will be part of the Talent Campus Durban programme but will also be open to the public.

Talent Campus

The 6^th Talent Campus Durban will bring together the creativity of 50 selected filmmakers from 18 different countries in Africa, chosen from over 450 submissions, who will take part in a series of masterclasses, workshops and industry networking opportunities during the Durban International Film Festival. Supported by German Embassy, Goethe-Institut and KZN Department of Economic Development and Tourism, Talent Campus Durban, a cooperation with Berlinale’s Talent Campus, entices filmmakers to enhance skills, develop collaborations and interface with the dynamic future of the film industry in Africa, and the world.

Durban FilmMart

Now in its 4^th year, the Durban FilmMart, a partnership project with the Durban Film Office, and supported by the City of Durban, is a film finance and co-production market presented in three strands – Finance Forum, Master Classes and the Africa in Focus seminars. 23 selected African projects (11 fiction features and 12 documentaries) will have an opportunity to hold one-on-one meetings with potential financiers, co-producers, and distributors in the Finance Forum. The documentary projects will also have an opportunity to pitch their projects to a panel of international commissioning editors in DOC Circle, a structured pitching forum co-ordinated in association with the International Documentary Festival of Amsterdam (IDFA). The fiction feature programme is coordinated in association with Rotterdam International Film Festival’s CineMart. The DFM master class and networking programme is open to registered delegates only. See www.durbanfilmmart.com for further details.

Wild Talk

DIFF is pleased to announce that a strategic partnership has been formed with Durban Wild Talk Africa, the continent’s most respected Natural History Film Festival and Conference, which takes place at the Docklands Hotel in Durban from July 23 to 26.  A selection of nine natural history films have been chosen from 445 entries from across the globe, to be screened at the Durban International Film Festival.

Durban Wild Talk Africa is considered to be Africa’s key film festival and conference for natural history and wildlife film and television programming. The event includes; workshops, seminars, masterclasses, open pitching sessions, commissioners panels and exhibitions, and is a valuable networking forum with both local and international delegates and industry leaders. This year DWTA will include the Wildlife Photographer of the Year exhibition to be held at uShaka Marine World and sponsored by National Geographic, from 25 July to 25 September 2013. Registration for the WildTalk conference is available at http://wildtalkafrica.com/register/ .

Ticketing

Principal screening venues are Suncoast Cinecentre; Ster Kinekor Musgrave, Cinema Nouveau – Gateway, Elizabeth Sneddon Theatre; Ekhaya Multi-Arts Centre in KwaMashu; and the Blue Waters Hotel. Other venues include the Bay of Plenty Lawns, the Upstairs at Spiga D’oro and the Luthuli Museum on the North Coast, which will have a special programme of screenings.

Tickets should be acquired through the respective venues and prices range from R25 to R35 (R50 for 3D screenings), except at Luthuli Museum, Blue Waters, Ekhaya and Bay of Plenty lawns, which are free of charge.  The Short Film programme at Upstairs at Spiga d’Oro  costs  R20.

Programme booklets with the full screening schedule and synopses of all the films are available free at cinemas, and other public information outlets. Full festival details can also be found on www.durbanfilmfest.co.za or by calling 031 2602506.

Organised by the Centre for Creative Arts (University of KwaZulu-Natal) the Durban International Film Festival is supported by the National Lottery Distribution Trust Fund (principal funder), National Film and Video Foundation, KwaZulu-Natal Department of Economic Development and Tourism, City of Durban, German Embassy, Goethe Institut, Industrial Development Corporation, KwaZulu-Natal Department of Arts and Culture, and a range of other valued partners.

MOST BEAUTIFUL PROPOSAL IN THE HISTORY OF PROPOSAL

                             
                                      

A NIGHT OF TRIBUTE TO CELEBRATE FATAI ROLLING DOLLAR AT FREEDOM PARK

 FATAI ROLLING DOLLARS

The iREP Documentary Film Forum, the Committee for Relevant Art, CORA and the Freedom Park collective will celebrate the legendary life of octogenarian "Kokoma" Highlife musician Fatai Olagunju, aka Rolling Dollar who passed away on June 12, 2013.

The phenomenal maestro will be celebrated in "FATAI ROLLING DOLLAR: Celebrating the Essence of the Legend" through a night of reflection on his life and career on Wednesday June 19 at 5pm at the Freedom Park, 1 Hospital Road by Broad Street, Lagos.

"The special tribute includes reviews of his career; screening of perhaps the only documentary film on his life titled ROLLING DOLLAR: A LEGEND UNPLUGGED, produced and directed by Femi Odugbemi and released in March; and a session of musical tributes by his fellow veteran highlife musicians, and many young ones whose careers he affected, and to some extent helped to shape by his own exemplary service to the music industry. And people should also come with their One-Minute tribute – in Poem, Song; Chant; Reflection or other forms of tribute," announced Jahman Anikulapo, culture activist and former editor at The Guardian for The iREP Documentary Film Forum, iREP, the Committee for Relevant Art, CORA and the Freedom Park collective.

BY FEMI ODUGBEMI