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DTSTART;TZID=America/New_York:20260213T190000
DTEND;TZID=America/New_York:20260213T200000
DTSTAMP:20260108T193214Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260108T193214Z
UID:21084-1771009200-1771012800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Trouble Sleep
DESCRIPTION:Trouble Sleep\nDirected by Alain Kassanda.\nFrance/Nigeria\, 2020\, DCP\, color\, 41 min.\nYoruba and English with English subtitles.\nDCP source: Icarus Films \n“What is City? you say. / It’s the bottleneck where all our stories come together. / … It’s not a place of happiness. It’s not a place of misfortune. It’s the calabash of fate.” \nKassanda includes quotes from Patrick Chamoiseau’s exquisite novel Texaco within this kinetic sketch of Ibadan\, Nigeria’s third largest city. Featuring taxi driver Fred—who is ironically a civil engineering student—and Akin who patrols for the transport union\, the film flutters between their respective days and worlds in the crowded streets\, and a portrait of a city begins to emerge\, a city fueled by constant and complex fees and negotiations\, the mathematics of which add up to very little return on either Akin’s or Fred’s difficult\, dangerous work. Sonically illuminated by cosmic jazz and Afro-beats\, Kassanda moves in close and zooms back out to intimately comprehend the contradictions and humanity within the intricate patterns and rhythms of a hustling city. \nOrder Tickets: The Harvard Film Archive
URL:https://filmstudycenter.fas.harvard.edu/event/screening-trouble-sleep/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Trouble-Sleep_still-04_Courtesy-Icarus-Films.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250202T190000
DTEND;TZID=America/New_York:20250202T203000
DTSTAMP:20250109T223940Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223940Z
UID:20625-1738522800-1738528200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Two Faces of a Bamiléké Woman
DESCRIPTION:The Two Faces of a Bamiléké Woman\n(Les deux visages d’une femme Bamiléké)\nDirected by Rosine Mbakam.\nBelgium/Cameroon\, DCP\, color\, 76 min.\nFrench and Bamiléké with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nAfter seven years away\, the filmmaker returns to Yaoundé\, the village in Cameroon where she grew up\, with her white European husband and their young son. Now living in Belgium\, Mbakam not only reunites with her family and homeland but embarks upon a revelatory project of exploring her childhood\, her parents’ lives and the wider stories of Cameroonian women. The “two faces” appear in different guises: from Mbakam’s own existence between two worlds—she is an acclaimed filmmaker\, yet her mother has only been to the movies once—and the less obvious duality that older Bamiléké women balance on a daily basis\, including within unhappily arranged marriages. Mbakam’s mother directly experienced the horrific violence of French colonialism and the death of her son\, while revealing that her husband’s second wife made her miserable. Despite the hardships\, what emerges in their tales are actions of quiet\, radical rebellion. Many of the women featured work for themselves\, find loopholes in tradition or create new\, supportive ones\, like the tontine. Mbakam\, too\, has joined these ranks\, creatively responding to neocolonial repercussions by renewing the bonds between generations while illuminating the resilience\, wisdom and generosity of Bamiléké matriarchs.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-screening-the-two-faces-of-a-bamileke-woman-feb-2/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/The-Two-Faces-of-a-Bamiléké-Woman-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250131T213000
DTEND;TZID=America/New_York:20250131T230000
DTSTAMP:20250123T150700Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250123T150700Z
UID:20633-1738359000-1738364400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Prism

DESCRIPTION:Prism
(Prisme)\nDirected by Rosine Mbakam\, An van Dienderen\, Éléonore Yaméogo.\nBelgium\, 2021\, DCP\, color\, 78 min.\nEnglish and French with English subtitles.\n\n\n\n\n\nFilmmakers Rosine Mbakam\, An van Dienderen and Éléonore Yaméogo collaborate on a multifaceted essay film thinking through questions around Black representation in a cinema historically white-balanced. With the participation of a variety of scholars\, artists\, actors and fellow filmmakers\, the film experimentally explores the depths that this colonization of representation erases. Upon debunking the myth of the technology’s neutrality\, they creatively crack open the Pandora’s box of implications and repercussions. Using a distinctly non-didactic\, unconventional approach\, the film is a moving and dynamic reclamation\, a poetic manifesto for an enlightened\, inclusive cinema.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-prism/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Prism.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250131T193000
DTEND;TZID=America/New_York:20250131T210000
DTSTAMP:20250109T223823Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223823Z
UID:20630-1738351800-1738357200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Chez jolie coiffure
DESCRIPTION:Chez jolie coiffure\nDirected by Rosine Mbakam.\nBelgium/Cameroon \, 2018\, DCP\, color\, 71 min.\nFrench with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nMbakam reveals the unseen worlds contained within the microcosm of a hair salon inside a Brussels shopping mall in a neighborhood that has become a hub of African transplants. Helmed by the steadfast Sabine\, the salon is not only a place of business\, but a community center\, therapy clinic\, or even display window—when the curious white tourists gawk—and at its most precarious\, the entire mall becomes a trap where police search for undocumented immigrants. Mbakam spent a year within the glassed-off confines of the salon\, filming Sabine as she multitasks. During the intimate swathes of time-consuming hair braiding and styling\, shop talk ranges from the misconceptions of life in Europe for African immigrants; the sex trafficking of young African women and everyone’s money troubles; to joking\, flirting and of course\, love and beauty advice. The latter are usually courtesy of Sabine\, who is the gentle guide and the stoic center of this ad-hoc sanctuary. Between helping people with their relationships\, finding housing and jobs or recruiting for her tontine\, Sabine also discloses her own traumatic tale of a hard-won\, precarious independence\, one that has taken her far away from Cameroon\, yet has enabled her to nurture a new\, improvised family making their way on unstable ground.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-chez-jolie-coiffure/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Chez-jolie-coiffure.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250127T193000
DTEND;TZID=America/New_York:20250127T210000
DTSTAMP:20250109T223750Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223750Z
UID:20622-1738006200-1738011600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Two Faces of a Bamiléké Woman
DESCRIPTION:The Two Faces of a Bamiléké Woman\n(Les deux visages d’une femme Bamiléké)\nDirected by Rosine Mbakam.\nBelgium/Cameroon\, DCP\, color\, 76 min.\nFrench and Bamiléké with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nAfter seven years away\, the filmmaker returns to Yaoundé\, the village in Cameroon where she grew up\, with her white European husband and their young son. Now living in Belgium\, Mbakam not only reunites with her family and homeland but embarks upon a revelatory project of exploring her childhood\, her parents’ lives and the wider stories of Cameroonian women. The “two faces” appear in different guises: from Mbakam’s own existence between two worlds—she is an acclaimed filmmaker\, yet her mother has only been to the movies once—and the less obvious duality that older Bamiléké women balance on a daily basis\, including within unhappily arranged marriages. Mbakam’s mother directly experienced the horrific violence of French colonialism and the death of her son\, while revealing that her husband’s second wife made her miserable. Despite the hardships\, what emerges in their tales are actions of quiet\, radical rebellion. Many of the women featured work for themselves\, find loopholes in tradition or create new\, supportive ones\, like the tontine. Mbakam\, too\, has joined these ranks\, creatively responding to neocolonial repercussions by renewing the bonds between generations while illuminating the resilience\, wisdom and generosity of Bamiléké matriarchs.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-screening-the-two-faces-of-a-bamileke-woman/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/The-Two-Faces-of-a-Bamiléké-Woman-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240304T190000
DTEND;TZID=America/New_York:20240421T190000
DTSTAMP:20250604T170843Z
CREATED:20230115T171203Z
LAST-MODIFIED:20250604T170843Z
UID:20298-1709578800-1713726000@filmstudycenter.fas.harvard.edu
SUMMARY:McMillan-Stewart Fellow Jean-Pierre Bekolo Retrospective at the Harvard Film Archive March 4 - April 21
DESCRIPTION:The Harvard Film Archive will host a retrospective of McMillan-Stewart fellow Jean-Pierre Bekolo’s films March 4 – April 21\, with Bekolo in attendance for screenings on March 22\, 23\, and 24. \nJEAN-PIERRE BEKOLO\, 2024 MCMILLAN-STEWART FELLOW \nIn 1992\, both Jean-Pierre Bekolo (b.1966) with Quartier Mozart and Quentin Tarantino with Reservoir Dogs (along with Julio Medem) were nominated for the London Film Festival’s prestigious Sutherland Trophy as two of the most promising cinematic voices in the years to come. Flash-forward three decades later: Hollywood filmmaker Tarantino is now a household name around the globe\, while equally talented and maverick Cameroonian/African filmmaker Jean-Pierre Bekolo has\, in spite of a truly brilliant and cerebro-visceral output\, unfortunately and\, arguably\, unjustly not received the same amount of attention. This structurally uneven and unequal political economy of world cinema\, which shapes and defines the destinies of filmmakers around the world\, underlines the need to celebrate and honor Jean-Pierre Bekolo’s insufficiently recognized\, yet thoroughly original\, deeply reflexive\, and always profoundly forward-looking cinema of questioning. \nJean-Pierre Bekolo came to cinema in the mid-1980s as a student of physics and chemistry at the University of Yaoundé in Cameroon. Taking advantage of the newly opened national television station\, he received training as an editor for two years\, in the process directing many music videos including one for popular Cameroonian musician Charlotte Mbango. From 1988 to 1990 Bekolo attended the famous Institut National de l’Audiovisuel in Paris and took courses with world-renowned film semiotician Christian Metz. After the release of three short films\, his first feature film\, Quartier Mozart (1992)\, announced the advent of a groundbreaking\, innovative voice in African and world cinema\, one who was at once part of the MTV generation of Africans and was also deeply influenced by the films of Spike Lee and by American popular cinema more broadly. Immediately\, the film was selected and celebrated at the 1992 Cannes Film Festival. \nBekolo continued to develop a rich\, multilayered and complex filmography including such classics as Aristotle’s Plot (1996)\, Les Saignantes (2005)\, and Le président (2013); exploring newer terrains with Naked Reality (2016)\, Miraculous Weapons (2017) and Nous Les Noirs (2021); and more recently producing a filmic adaptation of Djaili Amadou Amal’s novel Walaandé\, the Art of Sharing a Husband (2023)\, directed by Thierry Ntamack. In addition to filmmaking\, Bekolo’s artistic practice navigates the worlds of the gallery and the museum\, of knowledge production and dissemination as well as collective action and organizing. \nIt was clearly apparent\, at least since Aristotle’s Plot\, a film commissioned by the British Film Institute as part of its celebration of the centenary of the cinema\, that Bekolo was\, at his core\, an essayist in the noblest sense of the term\, who sought to work out his interrogations\, ideas\, thoughts and affects in his own subjectively experimental\, tentative and nondogmatic ways. Indeed\, since the end of the first decade of the 2000s\, Bekolo has been publishing essays\, blogs and various forms of reflection both on the significance and relevance of the cinema as well as on the challenges and the destiny of the African continent\, including Africa for the Future\, Sortir un nouveau monde du cinema (2009) and more recently Cinema as a Transformative Tool for the Therapeutic Intellectual (2023). Together\, these writings reveal a mind at once restless\, perpetually inquisitive and questioning\, always innovative while remaining profoundly dissatisfied with a lenifying status quo both in cinema as a means of representation and with the object of representation itself\, i.e. the real\, African and otherwise. There is in Bekolo a double impulse to transform the real itself as well as the means to represent it\, making his work profoundly philosophically inflected. \nIn addition to committing his own reflections and musings to paper\, Bekolo has also in the last decade sought to disseminate the thoughts of others through the moving image. Arguably inspired by Michel Gondry’s documentary Is the Man Who Is Tall Happy? An Animated Conversation with Noam Chomsky (2013)\, Bekolo would devote a three-hour documentary\, Mudimbe’s Order of Things (2015)\, to one of the foremost African philosophers\, Valentin Mudimbe\, author of such classics of postcolonial theory as The Invention of Africa (1988). Perhaps Bekolo’s single most comprehensive effort in this area involved filming the now famous “Workshops of Thought” (Les ateliers de la pensée) initiated by prominent African public intellectuals Achille Mbembe and Felwine Sarr. In doing so\, Bekolo positions himself as a traveling companion to major African scholars and intellectuals\, situating the cinematic field as another battlefield for both discursive and actual social transformation. \nJean-Pierre Bekolo’s work exceeds the focus on his own cine-artistic output. A decade after the beginning of his film practice and upon his return to France following his North American years\, roughly 1998-2000\, he decided to join and actively take part in one of the most important film movements in the history of African cinema\, the Guilde of African Filmmakers and Producers. Created in the mid-1990s as a self-conscious group which sought to initially establish its distances from the much larger Pan-African Federation of Filmmakers (FEPACI)\, it saw itself as the gathering of filmmakers who had a love for Africa in common\, who shared a location as displaced African subjects/cultural producers in major European/formerly colonial metropolises (primarily Paris/France)\, and who benefitted from the singularity of their bidirectional insider/outsider gaze at the continent. This globalization generation of African filmmakers was also the first generation to embrace the promise of the digital as a way of reinventing African cinema and the cinema more generally. This group included some of the most prominent contemporary voices of African cinema\, from Jean-Marie Teno\, Nadia El Fani\, Jihan El Tahri\, Abderrahmane Sissako and Fanta Nacro to Mahamat-Saleh Haroun\, Dani Kouyaté\, Issa Serge Coelo\, Jacques Trabi\, Fatma Zohra Zamoum\, Balufu Bakupa Kanyinda and Mama Keïta. \nMost famously\, Bekolo’s participation within the Guilde included a major intervention at the 2007 Cannes Film Festival. As part of its celebration of its sixtieth anniversary in 2006\, Cannes had commissioned filmmakers from around the world to each direct a part of an omnibus film but had not invited African filmmakers to participate\, with the exception of Youssef Chahine. For several years\, the festival had also failed to select a single African film in its official competition. Bekolo spearheaded a press campaign to denounce this\, pondering whether this was a case of racial profiling related to “the color of our images\,” arguably anticipating by over a decade the #OscarsSoWhite movement. \nJean-Pierre Bekolo is also an accomplished educator who has lectured at various universities in Europe and the United States. In recent years\, he has initiated the Scripto Sensa Workshops focusing on book-to-film adaptations and invented what he refers to as an “Alphabet of Film” in which he breaks down “cinematic elements into symbols and cards.” – Aboubakar Sanogo\, Carleton University \nBekolo’s extended visit to Harvard as the 2024 McMillan-Stewart Fellow in Distinguished Filmmaking will feature nearly all of his theatrical releases. The Harvard Film Archive and the FIlm Study Center are thrilled to welcome Bekolo to discuss his inventive\, otherworldly cinema and presumably much\, much more. \nPlease visit the HFA website for a list of films and times:\nhttps://harvardfilmarchive.org/programs/jean-pierre-bekolo-2024-mcmillan-stewart-fellow
URL:https://filmstudycenter.fas.harvard.edu/event/jean-pierre-bekolo-screenings-at-the-harvard-film-archive-march-4-april-21/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening,Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/DORY-ADELE-VOITURE.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231003T173000
DTEND;TZID=America/New_York:20231003T200000
DTSTAMP:20230928T003758Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230928T003758Z
UID:20121-1696354200-1696363200@filmstudycenter.fas.harvard.edu
SUMMARY:The Power of Short Film in Afghan Cinema with Samiullah Nabipour and Sayed Zubair Hashimi
DESCRIPTION:Professors of cinema at Kabul University\, Samiullah Nabipour and Sayed Zubair Hashimi\, will present a selection of films from Afghanistan\, including short films made by the students of Kabul University’s Cinema Studies and Siddiq Barmak’s The Stranger from 1987 to provide some context into the history of Afghan short films and their ability to depict Afghan social norms and culture. \nSamiullah Nabipour is a prominent figure in the fields of culture and art in Afghanistan\, known for his work as a university professor\, researcher\, and activist. He has been a professor at Kabul University for fourteen years and served as the head of the cinema department for six years and the faculty of art for two years. Nabipour has authored two treatises and six research articles on Afghan cinema. As one of the founders of the Cinema Department at Kabul University\, Nabipour has played a vital role in the education and training of young filmmakers and producers in short film production in Afghanistan. The department is the only academic institution in the country dedicated to film education. Additionally\, Nabipour founded the Kabul Student Film Festival\, the first of its kind in Afghanistan\, and served as its president for three terms. Nabipour has been honored for his work in the field of art and cinema\, receiving recognition from President Ashraf Ghani on two occasions. He has also served as a judge at several international film festivals held in Afghanistan and has been a member of notable institutions\, including the Scientific Council of Kabul University\, the High Council of Arts of Afghanistan\, the Union of Cinematographers of Afghanistan\, and the Board of Directors. \nSayed Zubair Hashimi has nine years of teaching experience in the Cinema Department of the Faculty of Fine Arts at Kabul University and was a member of the Scientific Council of the Faculty of Arts at Kabul University for four years. The Department of Cinema is the only academic institution in Afghanistan that trains young people in the field of filmmaking. During the nine years of teaching\, he had an advisor role with cinema students as a mentor in screenplays and short films that included students’ guild projects. The films produced under Hashimi’s supervision reflect social issues. Also\, he wrote a treatise that compared the films of two decades of Afghanistan Cinema and wrote three scientific articles about Afghan cinema\, which were published in the scientific journal of Kabul University. Hashimi was a member of the three-member group of writers in two seasons of the series 24 episodes (the third line)\, which was broadcast on Tolo TV and was warmly received by the viewers. He was also a member of the three-member group of radio drama writers (Friendship Farm) produced by Roya Film for immigrants and internally displaced people. This drama was written in 44 episodes and broadcast through local radio. Hashimi founded the nonprofit organization Peshraw Cultural and Educational Organization\, and through it\, he voluntarily carried out cultural and educational activities for teenagers and street children. \nCo-sponsored with The Lakshmi Mittal and Family South Asia Institute
URL:https://filmstudycenter.fas.harvard.edu/event/the-power-of-the-short-film-in-afghan-cinema/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening,Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Afghan-cinema_sm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221108T090000
DTEND;TZID=America/New_York:20221108T120000
DTSTAMP:20221025T204204Z
CREATED:20211215T171203Z
LAST-MODIFIED:20221025T204204Z
UID:19709-1667898000-1667908800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening and Conversation with filmmaker Anand Patwardhan
DESCRIPTION:Please join us for a special screening and conversation with filmmaker Anand Patwardhan\, a collaboration between the Film Study Center and Sensory Ethnography class. Patwardhan will visit with students and fellows and screen his documentary\, War and Peace\, on November 8. In addition to this event\, Patwardhan’s films are currently screening at the Harvard Film Archive. \n“For more than four decades\,” his 2020 New York Times Magazine profile notes\, Anand Patwardhan “has been India’s leading documentary filmmaker.” X-rays of Indian modernity\, his frequently expressionistic films tug at the frayed edges of an unraveling nation to reveal the threads—of class inequity\, casteism\, masculinity\, religious fundamentalism\, and nationalism—that warp and weft through the fabric of what the ruling Bharatiya Janata Party calls the New India.” –IDA \nAbout War and Peace: \nFilmed over four tumultuous years in India\, Pakistan\, Japan and the USA following nuclear tests in the Indian sub-continent\, War and Peace is a documentary journey of peace activism in the face of global militarism and war. The film is framed by the murder of Mahatma Gandhi in 1948\, an act whose portent and poignancy remains undiminished half a century later. For the filmmaker\, whose family was immersed in the non-violent Gandhian movement\, the sub-continent’s trajectory towards unabashed militarism is explored with sorrow though the film captures stories of resistance along the way. Amongst these is a visit to the “enemy country” of Pakistan\, where contrary to expectations\, Indian delegates are showered by affection not only by their counterparts in the peace movement but by uninitiated common folk. \nThe film moves on to examine the costs being extracted from citizens in the name of national security. From the plight of residents living near the nuclear test site to the horrendous effects of uranium mining on local indigenous populations\, it becomes abundantly clear that contrary to a myth first created by the U.S.A\, there is no such thing as the “peaceful Atom”. \nWar and Peace slips seamlessly from a description of home made jingoism to focus on how an aggressive United States has become a role model\, its doctrine of “Might is Right” only too well-absorbed by aspiring elites of the developing world. \nWar has become perennial\, enemies are re-invented and economies inextricably tied to the production and sale of weapons. In the moral wastelands of the world memories of Gandhi seem like a mirage that never was\, created by our thirst for peace and our very distance from it. \nOpen to FSC fellows\, CMP students\, and the AFVS community.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-and-conversation-with-filmmaker-anand-patwardhan/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Artist Talk,Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/12/16x9-Gandhi-baby-AI-crop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200402
DTEND;VALUE=DATE:20200409
DTSTAMP:20200311T172831Z
CREATED:20190910T224020Z
LAST-MODIFIED:20200311T172831Z
UID:16201-1585785600-1586390399@filmstudycenter.fas.harvard.edu
SUMMARY:CMP Capstone Exhibition [CANCELED]
DESCRIPTION:[CANCELED] \nThe CMP Capstone Exhibition\, organized by the Film Study Center\, will run from April 2-8\, 2020\, in the ArtLab Annex in the Sackler Building. Check back here for updates on our participating students and reception date. \nApril 2\, 2020 – April 8\, 2020 \nArthur M. Sackler Building\nBroadway St.\nCambridge\, MA
URL:https://filmstudycenter.fas.harvard.edu/event/cmp-capstone-exhibition/
LOCATION:Sackler Building\, ArtLab Annex\, 485 Broadway St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Exhibition,Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/CMP-Exhibition-view-940x460_sm-e1581539902400.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20191118T190000
DTEND;TZID=UTC:20191118T213000
DTSTAMP:20210107T234949Z
CREATED:20190910T224020Z
LAST-MODIFIED:20210107T234949Z
UID:16185-1574103600-1574112600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Atlantique by Mati Diop
DESCRIPTION:Atlantique\nDirected by Mati Diop.\nWith Mame Sane\, Amadou Mbow\, Traoré.\nBelgium/France/Senegal \, 2019\, DCP\, color\, 105 min.\nFrench and Wolof with English subtitles. \nThe stunning debut feature by actress-turned-filmmaker Mati Diop is a bewitching tale of longing focused on a young Senegalese woman gripped by her forbidden love for an exploited construction worker who abruptly emigrates to Europe but seems to be lingering mysteriously behind. Melding supernatural fiction with a clear-eyed vision of the migrant crisis\, Atlantique—which began\, in fact\, as a documentary short—gives unique resonance to an urgent issue reshaping communities across Europe and Africa today. A surprise but well-deserved winner of the coveted Grand Prix at the 2019 Cannes Film Festival\, Atlantique establishes Diop as a central figure in a new wave of politically charged yet lyrically shaped art cinema that is reorienting contemporary filmmaking towards bold new directions. – HG \nCo-sponsored by the Harvard Film Archive \nMati Diop is no longer able to appear in person.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-atlantique-by-mati-diop/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Atlantique_16x9.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20190930T190000
DTEND;TZID=UTC:20190930T210000
DTSTAMP:20210119T205937Z
CREATED:20190709T002251Z
LAST-MODIFIED:20210119T205937Z
UID:16169-1569870000-1569877200@filmstudycenter.fas.harvard.edu
SUMMARY:Atalaku by Dieudo Hamadi at the HFA
DESCRIPTION:Atalaku\nDirected by Dieudo Hamadi.\nDRC/France\, 2013\, DCP\, color\, 60 min.\nLingala and French with English subtitles.\nDCP source: Swank \nDieudo Hamadi is the 2019-20 McMillan-Stewart Fellow in Distinguished Filmmaking at the Film Study Center at Harvard University. \nFilmed during the 2012 elections\, supposedly the first democratic elections since the nation’s independence in 1960\, Atalaku (“Town Criers”) describes with equal vigor the poor functioning of democracy within the country as well as a multiplicity of facets of daily life and human relationships that this circumstance helps reveal. The film follows three central protagonists. The first\, Gaylor\, is an ordinary pastor\, affiliate of a church where he exhorts his parishioners\, endlessly invoking the name of the Lord to convince women in the audience to donate money. He becomes a tout for candidates in the elections\, a “crier” who incites local residents to attend meetings for the political hopefuls who employ him; as he goes through the markets distributing small sums of money\, little electoral arguments entrusted to him by incumbents to the national assembly\, he keeps as much as he can for himself. The second protagonist is an orchestra of some twenty members\, young musicians who rehearse\, argue and get drunk in a vast cemetery. The third is a group of young women who belong to a citizens’ association; they canvas the streets explaining to people why and how to vote and supervise ballot procedure in polling stations. Through these encounters\, Atalaku captures the shameless use of bribes\, as well as the political passion of many citizens\, the misogyny still in force including among “democrats\,” and the force of a clergy imbued with mysticism. The film ends with the riots that stem from an electoral process so clearly marred by numerous irregularities\, and the repression that ensues. But it is the whole of relations to the electoral process that appears as biased\, ineffective and immoral\, even before the fraud that would bring dictator Joseph Kabila back to power. \nPRECEDED BY \nLadies in Waiting\nDirected by Dieudo Hamadi and Divita Wa Lusala.\nDRC/South Africa\, 2009\, 35mm\, color\, 24 min.\nFrench with English subtitles.\nPrint source: Swank \nThe first short in the omnibus Congo en 4 actes\, this film takes place in a maternity ward in Kinshasa—an environment familiar to Hamadi\, who studied medicine before turning his hand to filmmaking. Through the exemplary situation of women who have just given birth\, the film presents in detail the unbearable tension within a dysfunctional society\, marked at once by tremendous poverty and violence (which translates in particular to numerous rapes and children born of these rapes); the unrestrained commoditization of relationships; widespread corruption; and a litigious bureaucracy. Dames en attente focuses on the hospital accountant—whose job it is to collect birthing fees from women who cannot afford to pay—as she pleads a particularly dire case to the administration\, or even attempts to convince the children’s fathers (if they have not disappeared) to foot the bill. As witness to situations—occasionally extreme—that ordinarily remain hidden\, the film develops a rich portrait that refuses to pass judgment; instead\, it makes manifest the endless obstacles and dead-ends within a collective mechanism\, one not limited\, of course\, to maternity wards.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-screening-atalaku/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/07/Atalaku_web.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20190929T190000
DTEND;TZID=UTC:20190929T210000
DTSTAMP:20210119T205846Z
CREATED:20190709T002251Z
LAST-MODIFIED:20210119T205846Z
UID:15500-1569783600-1569790800@filmstudycenter.fas.harvard.edu
SUMMARY:Examen d'état (National Diploma) by Dieudo Hamadi at the HFA
DESCRIPTION:Examen d’état\n(National Diploma)\nDirected by Dieudo Hamadi.\nDRC/France\, 2014\, DCP\, color\, 92 min.\nDCP source: Icarus Films \nDieudo Hamadi is the 2019-20 McMillan-Stewart Fellow in Distinguished Filmmaking at the Film Study Center at Harvard University. \nThe high school exit examination\, which grants diplomas and allows entrance to university\, is perceived as a passport to a better life. A poor teenage orphan who works in the markets before and after school to survive\, Joël serves as a guide and conduit into the violent\, cynical and unjust world that is the final year of high school. Although they absolutely need\, or think they need\, to attend the last year of high school in order to have a chance on the exam\, the students who cannot afford to pay for the third trimester are ruthlessly excluded. The feeling of injustice is even more acute as many classes from the preceding terms\, for which the students did pay\, never took place: often working without pay\, teachers frequently go on strike. Alongside this administrative confrontation\, multiple magic practices participate in the effort to ensure good results on the exam: Christian priests hawk supposedly salvific benedictions while shamans offer various magic recipes. Students excluded from the school for financial reasons band together to study in an atmosphere also marked by corruption and power struggles. Ultimately\, all are counting on cheating during the exam in order to obtain their diplomas. This organized cheating on a national scale reflects an environment where corruption is the rule\, a rule known and accepted by all even if officials make a big show of their respect for procedure. As it brings these processes to light\, Examen d’état also offers\, through Joël and his classmates\, a series of portraits of some extraordinarily keen young people\, who are capable of mobilizing a wide range of strategic skills in the attempt to reach their goal.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-screening-examen-detat-national-diploma/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/07/NATIONAL-DIPLOMA-02_Image-courtesy-Icarus-Films_web.jpg
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