Monday, 18 Mar 2024
Category: Film

Indian alley with director Dan Moss, Ashish Verma and Nicolas Fagerberg - Image: Imperial Blue

Imperial Blues: European-African co-production in the post-colonial era

Who has the right to make an “African film”? Can filmmakers who do not originate from the continent make such films that reference the continent? Who decides this? This an many more questions were raised during a conversation between Samuel Lutaaya Tebandeke (Ugandan filmmaker) and David Cecil (British producer) on British-Ugandan production Imperial Blue.

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The team working on their co-creation (image by Design Hub Kampala)

Four minds of Gender Equity – The making of a stop motion animation

What does a group of artists with backgrounds in different fields have in common when they come together to work on a topic as huge and as controversial as Gender Equity? Actress and creative mind Esteri Tebandeke reflects on a co-creation process initiated by Design Hub and Hivos.

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When Film Imitates Art

“I thought film was an art. … However, it was not long before I discovered that filmmaking is not an art. It’s an expensive hobby. It’s a business. It’s a science, because it relies on technology. It requires managerial skills, diplomacy in dealing with egos, and communication skills—because it’s a collaboration.” An essay on filmmaking by Ugandan filmmaker Dilman Dila.

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Xenson talking at Wazo, Kampala 2013.

Wazo 10: Xenson tells his story

On April 2nd 2013, the guest speaker for Wazo 10 was conceptual and visual artist, musician, filmmaker and poet, Ssenkaaba Samson, who goes by the name Xenson. In his introduction the moderator, David Kaiza, described Xenson as someone whose varied work in fashion, music, poetry and the visual arts has exponentially expanded what we call art and the art space in Uganda.

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A still image from Robin Färdig experimental movie filmed with a mobile phone camera.

On Creativity and Video Art: Refuse the Hollywood Frame

This article could be used as a manifesto for the artist, or the filmmaker. It’s core objects are to stress the otiose pursuit for top gear equipment in filmmaking, and to reject the academia and long formal educations when it comes to creativity. This text is also a call to all artists out there, no matter the artistic area, to get together and start sharing ideas, discussing projects and team up.

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Amakula: A journey of a thousand miles

Amakula International Film Festival in Uganda has been in existence for the past 8 years. Samuel Lutaaya has interview two industry players with different views about Amakula’s impact. Dilman Dila can not see how Amakula is promoting Ugandan films within Uganda, while the festival manager Nathan Kiwere thinks Amakula has played an instrumental role in building capacity of filmmakers.

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