Martin S.’s Post

Idris Elba is right: The creative power of Africa is mostly untapped. Which is interesting given its population size and its long history of story-telling. Not just in filmmaking but also in developing new creative tech, in communication and in the arts, there is a history to tap into and to draw from. Once we can move away from a US-centric creative culture (not cancel it but add to it), we will hear and see stories that we never thought possible. What it needs to make this a reality? Collaboration between African markets. Government support (at first) to build the industry. Creative jobs that pay. Schools that help prepare for those. I can't wait.

A great article penned by IDRIS ELBA on "Unlocking the potential of Africa’s creative economy"! He rightly appraises and constructively advises that investing in the continent’s film industry can redefine its narrative. This is something that AFRICA: Seen & Heard steadfastly believe and commit our philanthropic support to this autumn by investing our time and contributing to filmmaking initiatives in West Africa, particularly the Green Film Festival Accra which will take place in Ghana next month. In this article that can be read by subscribers, Idris inspires economic opportunity and prosperity for the coming generation of young Africans via the film industry when he states: "Hollywood has long exported the American dream, contributing hundreds of billions of dollars to the US economy and influencing global perceptions of the country. With a much larger and more diverse population, Africa’s untapped potential can achieve similar success through its own film industry. By telling authentic stories across genres — action thrillers, period dramas, urban fantasies and more — we can not only entertain but also reframe perceptions of Africa." I agree with his identifying the growing global interest in the continent’s music, art and fashion as a testament to its creative potential and it being time for the African film industry to take centre stage. He says: "Just as K-pop and K-cinema have reshaped views of Korea, Africa’s film industry can become a potent tool for economic development and cultural diplomacy. To unlock this potential, we must foster strong collaboration between filmmakers across borders. Partnerships between African nations can pool resources, share knowledge and create co-productions reflecting the continent’s diverse narratives." This article is worth a read as it provides a framework to facilitate required change and support rather than pie in the sky pontification with no means of activation. Bravo Mr Elba 👏🏿 #idriselba #africa #creativity #creativeindustries #narratives #filmmaking #culturaldiplomacy #economicdevelopment #africasrising #youthquake2050 #africandream

Interesting opinion by Idris Elba  🌍"The growing global interest in the continent’s music, art and fashion is a testament to its creative potential. Now, it’s time for the film industry to take centre stage. Just as K-pop and K-cinema have reshaped views of Korea, Africa’s film industry can become a potent tool for economic development and cultural diplomacy." 🌍 #growth #development #culture #economy  https://lnkd.in/d-HXHXGP

What can replace exile? What is left when everyone leaves, and what remains? (Trails of #Migration Series #041) …… “𝘞𝘩𝘢𝘵 𝘐 𝘩𝘢𝘷𝘦, ~ 𝘐 𝘥𝘰𝘯'𝘵 𝘸𝘢𝘯𝘵 𝘵𝘰 𝘭𝘰𝘴𝘦, ~ 𝘣𝘶𝘵 𝘸𝘩𝘦𝘳𝘦 𝘐 𝘢𝘮, 𝘐 𝘥𝘰𝘯'𝘵 𝘸𝘢𝘯𝘵 𝘵𝘰 𝘴𝘵𝘢𝘺, ~ 𝘣𝘶𝘵 𝘵𝘩𝘰𝘴𝘦 𝘐 𝘭𝘰𝘷𝘦, 𝘐 𝘥𝘰𝘯'𝘵 𝘸𝘢𝘯𝘵 𝘵𝘰 𝘭𝘦𝘢𝘷𝘦, ~ 𝘣𝘶𝘵 𝘵𝘩𝘰𝘴𝘦 𝘐 𝘬𝘯𝘰𝘸, 𝘐 𝘥𝘰𝘯'𝘵 𝘸𝘢𝘯𝘵 𝘵𝘰 𝘴𝘦𝘦, ~ 𝘣𝘶𝘵 𝘸𝘩𝘦𝘳𝘦 𝘐 𝘭𝘪𝘷𝘦, 𝘐 𝘥𝘰𝘯'𝘵 𝘸𝘢𝘯𝘵 𝘵𝘰 𝘥𝘪𝘦, ~ 𝘣𝘶𝘵 𝘸𝘩𝘦𝘳𝘦 𝘐 𝘥𝘪𝘦, 𝘐 𝘥𝘰𝘯'𝘵 𝘸𝘢𝘯𝘵 𝘵𝘰 𝘴𝘵𝘢𝘺 ~ 𝘸𝘩𝘦𝘳𝘦 𝘐 𝘩𝘢𝘷𝘦 𝘫𝘶𝘴𝘵 𝘯𝘦𝘷𝘦𝘳 𝘣𝘦𝘦𝘯." • 𝗧𝗵𝗼𝗺𝗮𝘀 𝗕𝗿𝗮𝘀𝗰𝗵 (𝟭𝟵𝟰𝟱-𝟮𝟬𝟬𝟭) ****************************************** The film poses the central question: What can replace exile? What is left when everyone leaves, and what remains? Keita marries drama and thriller so as to show the dark face of a Dakar left alone, abandoned by its promising sons and daughters: a Dakar underground, surviving on easy money, where individuals themselves are abandoned as families disinte- grate through exiles and absences. William Nadylam’s crude, unsentimental, and even harsh performance in the role of Adama holds the film altogether. Keita himself has acknowl- edged a certain chaos in the scenario (see his interview with Olivier Barlet, “L’Absence: Une Métaphore de l’Etat de l’Afrique,” May 2009, www.africultures. com), explaining that the shooting conditions had been so difficult and constraining that he thought this would be his last film. L’Absence was shot in five weeks with a low budget. It is only after many, though award-filled, years that the film has made its way to cinemas in 2014. (It was selected for the Rotterdam Festival and received the Best Screenplay Award at Fespaco 2009.) In the film’s tragic critique of postcolonialism one might find echoes of Cheikh Amidou Kane’s novel L’Aventure Ambigüe (1961), in which a young man returns from a promising exile at university in Paris only to find himself feeling suicidally lost and alienated at home. Such a comparison, however, risks reducing Adama’s impossible return to a situation of cultural incom- patibility. There is much more than that here. Adama is never accused of being either too assimilated or decultured. Instead, the film hints at the violence of his departure—with the moral violence of his absence mirrored and replaced by the physical violence now pulsing through Dakar. The question is not simply whether one can return after exile, but what does leaving mean? The film presents absence through its moral and social implications, and exposes its inherent contradictions, opposing the irresistible attraction of an international, “extroverted” success (see Jean-François Bayart’s The Politics of the Belly [Polity, 2009]) with a continent that has been left orphaned. Anaïs Angelo European University Institute Florence, Italy doi:10.1017/asr.2014.125 anais.angelo@eui.eu ….

This right here 🙌🏽 Elba, who played South African anti-apartheid leader Nelson Mandela in the 2013 biopic Long Walk to Freedom, believes that it is vital for Africans to be centre-stage in the entire film-making process. That is in front of the camera, behind the camera and also in financing, distribution, marketing and showing the final product. He imagines that just as movie audiences around the world know the differences between the US cities of New York and Los Angeles without necessarily ever having visited them, they will one day have a more nuanced understanding of the continent. “This sector is a soft power, not just across Ghana but across Africa. “If you watch any film or anything that has got to do with Africa, all you’re going to see is trauma, how we were slaves, how we were colonised, how it’s just war and when you come to Africa, you will realise that it’s not true. “So, it’s really important that we own those stories of our tradition, of our culture, of our languages, of the differences between one language and another. The world doesn’t know that.” With Nigeria’s Nollywood producing hundreds of movies a year, films are arguably one of the country’s most successful exports. There is also a tradition, especially in parts of Francophone Africa, of making high-quality films. Elba has previously recognised the talent in Africa’s film industry, but said the facilities were “lacking”. The UN’s cultural agency said that despite “significant growth in production”, the business of film-making across the continent was hindered by issues such as piracy, insubstantial training opportunities and a lack of official film institutions. Elba believes with the right momentum and involvement of governments willing to create an enabling environment, a virtuous circle can be established. “We have to invest in our story-telling because when you see me, you see a little version of yourself and that encourages us.” We can’t wait for the movies that will come out! #representationmatters

WE TOOK PART IN A DISCUSSION "Can Documentary Film change the World for the better" which took place at the opening of the 13th DOKUDOC International Documentary Film Festival🎥. The speakers🗣 were human rights activists and filmmakers Tomo Križnar and Bojana Pivk Križnar, journalist Žiga Anže Šilak, Director of Institute Circle Emina Hadžić and the representative of the Ministry of Foreign and European affairs Ms. Katja Žvan Elliot. All of them emphasised the potential of documentary film as a tool to draw attention to injustices in society and to encourage positive changes in our communities👥. According to Bojana Pivk Križnar, it is difficult to achieve anything among political authorities through films, however, films have positive impact on ordinary people who are not technologically burdened, who are connected to nature and still have feelings and emotions. The discussion took place within the project »Dignity and peaceful coexistance of conflict affected communities in Darfur through improved Food Security, WASH, and GBV services«. The project is implemented by the Zavod KROG/Institute Circle and its partner organisation🤝 HOPE Sudan - Hope and Friendship for Development and with the financial support of the Slovenian Ministry of Foreign and European Affairs. #dignity #foodsecurity #humanitarianaid #Sudan #institutecircle

"Filmmakers from 42 countries in Africa can apply for the Open Doors programme, which is backed by the Swiss Agency for Development and Cooperation (SDC) of the Federal Department of Foreign Affairs (FDFA). Submissions for the 2025 edition of Open Doors’ three main programmes - Open Doors Projects, Open Doors Producers and Open Doors Directors - are open from November 28 to January 16." https://lnkd.in/eCydFK8t

🎥 Navigating Change in South Africa’s Film Industry: Are We Moving Forward? The South African film industry is no stranger to change. From groundbreaking productions to economic uncertainties, industry professionals constantly adapt to shifting landscapes. But what does this mean for the creators at the heart of it all? Recent conversations on Podcast and Chill and King David Mashabela’s show revealed hard truths shared by icons like Vatiswa Ndara. They spoke candidly about unfair contracts, late payments, and the struggles of sustaining careers in an industry they’ve dedicated their lives to. These stories reflect more than just personal battles—they expose how deeply the economic divide impacts our creative sector. Are We Doing Enough? While we celebrate global recognition and award-winning productions, many creatives still face financial instability and job insecurity. The industry's success often feels like a distant dream for those working behind the scenes. Is There Hope? Proposed amendments to copyright, labor laws, and industry regulations offer some promise—but implementation remains slow. True change will only happen if government bodies, production houses, and creatives work together toward equitable contracts, fair compensation, and stronger labor protections. Let’s Talk Solutions: 🎬 Industry Unity: How can we create a united front advocating for industry-wide reforms? 📜 Policy Advocacy: What policy changes should we prioritize? 💸 Creative Investment: How can we collectively support local productions to strengthen our economy? I invite you to share your experiences, stories, and ideas. Let’s spark meaningful conversations that can lead to real change. Together, we can reshape the future of South Africa’s film industry—one fair opportunity at a time. #southafricanfilmindustry #industryreform #creativerights #economicjustice #actorsvoices #futureofcreatives #policychange

In the wake of China's visit to #Europe, conversation around their role in European countries has grown. What does investment from #China mean for the continent's future? Check out one of our latest documentaries, "Tinderbox, Belt & Road: China in the Balkans", as it unpacks the perspective of locals, and offers more insight into how China's involvement is viewed on the other side of the Atlantic. https://lnkd.in/ghCkfsPt

Important Announcement: Postponement of the 2nd Lagos International Film and Cinema Convention Dear Delegates We regret to announce that the 2nd Lagos International Film and Cinema Convention, initially scheduled for August 1-3, 2024, has been postponed. The new dates for the convention are now August 14-15, 2024. This decision was made in response to the announced peaceful mass protest against the high cost of living and other matters affecting the citizenry. The protest, planned for August 1, coincides with the start date of the convention. After receiving feedback and intelligent advice from delegates and other important stakeholders, it became evident that the protest would significantly impact attendance due to anticipated low movement and traffic as people observe developments before venturing out for business. Such a situation could dampen the mood and adversely affect the success of the convention.