angolan cinema

Gathering(s) Gendering Decolonizations: Ways of Seeing and Knowing

No history of decolonization or of decolonizing praxes is ever completed without attention to gender. How did women view the liberation struggles in the former Portuguese colonies? How were their ways of seeing integrated or not in the imagination of colonialism? Was there a specific gaze to women over the liberation struggles? What knowledge and awareness do we have of/about these ways of seeing? And how do these ways of seeing intersect with those of contemporary filmmakers, artists, curators and academics who are now questioning public and private archives, are visually recreating their memories or re-imagining colonialism? What role academic research, archive conservation policies, programming and curatorship have in questioning or prolonging (official) “politics of memory”?

Afroscreen

22.05.2021 | by Ana Cristina Pereira (AKA Kitty Furtado), Inês Beleza Barreiros and Maria do Carmo Piçarra

An approach to film making in Angola that is consistent, mature and upright, interview with Zézé Gamboa

Our interview takes place in Ipanema, Rio de Janeiro, where Zézé Gamboa and a few members of his team are resting for a few days after the intense shoot for his film “Grande Kilapy”, which tells the story of Joãozinho das Garotas, an Angolan during colonial times who engineered a sting with the colony’s finances. There’s just a week in Luanda left for the film to be ready for editing, following the takes in Portugal and Paraíba in Brazil, so this is the right time to weigh up the experience and bring to public attention some aspects of the work done by someone who is considered to be “the most consistent” of Angolan directors.