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Pad na jou Hart in Top 10 of SA box office

The combined Top 10 box office figures for 2 February to 2 March, placed Afrikaans romantic adventure film Pad na jou Hart in the second spot of nationwide earners with a cumulative amount of R7,767,265 after three weeks of screening.

Animated movie Cloudy with a Chance of Meatballs (including 3D) was the highest earner in the Top 10 for this period with R7,831,698 after a five-week run.

After four weeks on circuit, The Best Man Holiday, starring Terrence Howard, Morris Chestnut and Taye Diggs, had raked in R5,415,033, while the remake of the 1987 science fiction film, Robocop, had made R4,464,672 after showing for four weeks.

Two weeks on circuit proved to be ample time for animated comedy The Nut Job (including 3D) a co-production between Canada, South Korea and the US, to take R3,845,506 at the South African box office.

Figures supplied by SAFACT.

EVS extensively utilised for Emir’s International Equestrian Sword Festival in Qatar

At the recent Emir’s International Equestrian Sword Festival, one of the most prestigious horse racing events in the international calendar, EVS live video production systems featured prominently.

Featuring a state-of-the-art video production, broadcast and archive workflow built around EVS technology, the Qatar Racing & Equestrian Club (REC), near the capital of Doha, is one of the most modern racecourses in the world.

While the EVS production workflow was used to deliver all the action from the event to race-goers at the course, EVS technology was also comprehensively utilised by the outside broadcast unit from Qatari broadcaster Al Kass, which provided television coverage of the event.

EVS’ XTRef Software, a multi-camera review solution specifically designed for stewards and race officials, was used for the first time on the day.

Video production servers, referred to as EVS XT3, and controlled by LSM panels are central to Qatar REC’s workflow, and are used to ingest multiple camera feeds and produce instant replays and highlights.

Additionally, EVS’ IPDirector production asset management suite enables the production team to effortlessly and proficiently manage ingest scheduling, live logging, to search and preview recorded content, as well as create playlists between races.

Each week, around 100 hours of raw recordings is generated and all this content is transferred to an EVS XStore NAS central storage network, ready for access in both high and low resolution by Avid and Adobe editors, while archivists determine what will be maintained in the long-term storage.

The EVS’ IP2Archive tool archives the view of each race from multiple camera angles allowing operators to store media files on Linear Tape-Open (LTO) tapes and restore the files on the central storage at a later date when the material is required.

During the live television coverage of the Emir’s Sword event, Al Kass’ outside broadcast vehicles were equipped with EVS XT3 servers, and connected to Qatar REC’s live production workflow, which enabled Al Kass and Qatar REC to benefit from a smooth exchange of content.

Images captured from Al Kass’ two Imovix hyper-motion 300-frames-a-second cameras were available to the Qatar REC production team and to the race stewards.

Says Jean Bernard Lebon, TV Director at Qatar Racing and Equestrian Club: “The system we’ve developed together with EVS provides a fast and reliable solution – from the ingest of multiple camera feeds all the way to deep archive.’

He adds that industry-standard technology, such as EVS’ servers and XNet media sharing network, and the plug-and-play integration with third-party editing and hierarchical storage management systems creates a flexible and innovative workflow.

“We can also easily interwork with other production facilities like Al Kass, delivering real productivity and quality benefits for everyone,’ concludes Lebon.

EVS’ XT3 server and IPDirector suite, and their integration with third-party systems, can now be seen at CABSAT 2014 on Stand G6-30, Hall 6.

Kenyan and Ghanaian films are big winners at the Africa Magic Viewers Choice Awards

At a glamourous ceremony held at the upmarket Eko Hotel in Lagos, Nigeria on Saturday 8 March, the second annual round of the Africa Magic Viewers Choice Awards (AMVCAs) were presented to the continent’s leading talents in the film and television industries.

Although still dominated by Nigerian talent and productions, the awards this year showed a notable shift towards greater diversity, and truly pan-African content, reflecting significant growth in industries aside from that of Nigeria.

The two big winners on the night, each taking four awards, were from territories outside of the Nollywood movie machine. From Kenya, Nairobi Half Life grabbed all the major technical awards, while the Ghanaian-made comedy Contract picked up the top creative accolades.

As the first few awards were given out, there seemed a very strong possibility that Nairobi Half Life would make a clean sweep in the seven categories in which it was nominated. Several winners joked, when receiving their awards, that they were either thankful that Nairobi Half Life had not been nominated in their categories or that they gave up hope of winning when they heard that it was. Ultimately it took the prizes in the categories of Best Lighting Designer (Mohamed Zain), Best Art Director (Barbara Minishi), Best Cinematographer (Christian Almesberger) and Best Make-Up Artist (Elayne Okaya).

Quite fittingly, the awards ceremony took place on both International Women’s Day and just two days after Ghanaian Independence Day. The coincidence of these two occasions was clearly a good omen for Ghanaian filmmaker Shirley Frimpong-Manso, who walked onto the stage, not once, but four times to receive awards in various categories for her film Contract. The movie, which stars South African actor Hlomla Dandala – who was also nominated for Best Actor – won in the Best Director, Best Movie, Best Video Editor and Best Writer categories. Frimpong-Manso was the honoree or co-honoree in all of these.

The performance of these two films notwithstanding, the AMVCAs were still very much a Nigerian affair. Of the 29 statuettes given out, 18 of them went to Nigerian productions. This shows that Nollywood is still on top of the continent’s film and television production sectors. However, as the two multiple-win films made clear, not only are Nigeria’s smaller West African neighbours beginning to compete on a high level, but filmmakers in other regions of the continent are too.

Broadcast live across the continent, the awards ceremony appears to have been a great success, and to have been planned and executed extremely well. Barring at least one notable incident, in which presenters of an award found themselves holding the wrong envelope there were few signs of the “teething’ problems that were apparent last year.

The AMVCAs are held by M-Net Africa in association with MultiChoice Africa, and with Amstel Malta as the main sponsor. At the press conference held after the awards show, John Ugbe, managing director of MultiChoice Nigeria, said that the awards were an extension of MultiChoice’s commitment to providing a platform for African stories and African talent.

One concern raised by a member of the press was that many of the winning films – those that were not specifically produced for the Africa Magic bouquet of channels – are not easily available for viewing for most Africans.

Managing director of M-Net Africa, Biola Alabi explained that the relative of shortage of viewing screens across the continent makes distribution a major challenge. Whereas major international film studios can use award shows as marketing tools for the distribution of their work, African filmmakers often don’t have access to the distribution and exhibition infrastructure needed to make this leverage truly valuable on this level.

M-Net Africa, she said, will do its best to secure the films in question – sought after and acclaimed nominees such as Nairobi Half Life, Last Flight to Abuja and Contract – as soon as they are open for negotiation on television and home video exhibition rights.

Report by Warren Holden

Ghana’s Contract wins major awards at the Africa Magic Viewers Choice Awards

At the 2014 Africa Magic Viewers Choice Awards (AMVCA) that took place on 8 March in Lagos in Nigeria, Ghanain movie Contract won accolades for the Best Movie and Best Movie Director (Shirley Frimpong-Manso) respectively.

The film, which stars South African actor Hlomla Dandala, also received awards for Best Video Editor (Frimpong-Manso) and Best Writer: Drama (Frimpong-Manso and Hertey Owusu).

The other big winner on the night was Kenyan film Nairobi Half Life, scooping four awards in an event which has come to be known as the “African version of the Academy Awards’.

List of winners

Best Movie Director
Shirley Frimpong-Manso – Contract

Best Movie 2013
Shirley Frimpong-Manso, Yvonne Okoro and Ken Attoh – Contract

Best Documentary
Dr Gilbert Chigbo – The Deadwood

Best Short Film
Walter “Waltbanger’ Taylaur – The Wages

Best Television Series Comedy / Drama
Fred Phiri – Love Games Episode 6

Best New Media – Online Video
Amarachukwu Onoh – Mother Tongue

Best Actor in a Drama
Tope Tedela – A Mile from Home

Best Actress in a Drama
Nse Ikpe-Etim – Journey To Self

Best Supporting Actress in a Drama
Bikiya Graham-Douglas – Flower Girl

Best Supporting Actor in a Drama
Desmond Elliot – Finding Mercy

Best Movie (Drama)
Frank Rajah Arase – The Price

Best Actor in a Comedy
Osita Iheme – The Hero

Best Actress in a Comedy
Funke Akindele – The Return of Sheri Koko

Best Movie (Comedy)
Elvis Chucks – A Wish

Best Make-Up Artist
Elayne Okaya – Nairobi Half Life

Best Costume Designer
Chiemela Nwagboso – The Kingdom

Best Lighting Designer
Mohamed Zain – Nairobi Half Life

Best Video Editor
Shirley Frimpong-Manso – Contract

Best Sound Editor
Obi Emelonye and Luke Corradine – Last Flight to Abuja

Best Art Director
Barbara Minishi – Nairobi Half Life

Best Cinematographer
Christian Almesberger – Nairobi Half Life

Best Writer (Comedy)
Jigi Bello – Flower Girl

Best Writer (Drama)
Shirley Frimpong-Manso and Hertey Owusu – Contract

Best Indigenous Language (Hausa)
Abba Muko Yakassai – Habib

Best Indigenous Language (Yoruba)
Mercy Aigbe – Komfo

Best Indigenous Language (Swahili)
Njoki Muhoho – Mama Duka

New Era Award
Rita Dominic – The Meeting

Trailblazer Award
Michelle Bello

Industry Merit Award
Pete Edochie

Ster-Kinekor releases its latest Bollywood titles Queen and Gulaab Gang

Ster-Kinekor’s latest Bollywood films Queen and Gulaab Gang screen at Gateway in Durban and The Zone in Johannesburg from Friday 7 March.

Queen centres around the journey of self-discovery that Rani (Kangana Ranaut), a 24-year-old Punjabi girl from a very conservative family in Delhi undergoes. After her fiance (Rajkummar Rao) is killed in a car accident, she focuses on healing herself instead of allowing sorrow to dominate her life and goes on her planned honeymoon alone, meeting new people and gaining valuable experience.

Queen was directed by Vikas Bahl and produced by Anurag Kashyap and Vikramaditya Motwane.

View the official trailer here: http://www.youtube.com/watch?v=KGC6vl3lzf0.

The movie Gulaab Gang is based on a group of Indian women vigilantes and activists recognisable by their pink saris. Known as the Gulabi Gang, they take a stand against the social injustices rampant in the Bundelkhand region of central India. The film depicts how one of the women in the group attempts to create a sanctuary for abused women and battles corruption by trying to expose a shady politician.

Gulaab Gang was directed by Soumik Sen and produced by Benaras Mediaworks and Sahara Movie Studios.

Watch the official trailer here: http://www.youtube.com/watch?v=xAcN8RR3Ry4.

Wananchi Group’s Zuku launches Zuku University Basketball League in Uganda

To deliver basketball action from the coming season, Zuku, the Wananchi Group’s triple play and pay-tv business, will launch the Zuku University Basketball League (ZUBL) in Uganda, partnering with the National University Sports Federation of Uganda (NUSFU).

This introduction of the ZUBL in Uganda builds on the success of its first launch in Kenya in 2013. To bring the ZUBL to a local Kenyan audience, Zuku has made substantial investments in training for the university coaches, administrators and players, as well as journalists writing about the subject. The ZUBL initiative in Kenya and now Uganda is part of Zuku’s ongoing commitment to investing in unique and original programming for an East African audience.

Gary Rathbone, Head of Sport at Zuku, says, “We are really proud of the ZUBL and the impact it’s had in Kenya. It’s wonderful to see that our grass-roots investment in ZUBL has paid off, it has not only created a new sports market, but a local community game that really captured the hearts and minds of the country.’

Rathbone continues that expanding the ZUBL concept from Kenya to Uganda was always part of Zuku’s wider strategy to engage with sport across East Africa. With the ZUBL Uganda, Zuku will look to replicate the Kenyan model and bring the same enthusiasm for the game to a wider regional audience.

He adds: “But it is also important to note that our investment goes beyond the league. We will be providing great television content for our subscribers through our weekly magazine show BAQE as well as live coverage of the ZUBL Uganda playoffs and finals at the end of April and early May.

“Our magazine programming and live broadcasts of the ZUBL Kenya enable our audience to discover the emerging talent in Kenyan university basketball. Now we are really looking forward to being able to highlight the new stars of Ugandan basketball in the same way,’ Rathbone concludes.

Twenty male and female teams from the 10 universities competing in the Ugandan league will participate in the tournament that runs from 8 March to the playoffs on 26 and 27 April, and the tournament finals on 3 and 4 May.

With an estimated 180,000 students attending games, the ZUBL in Uganda, which is also in association with the Federation of Uganda Basketball Association (FUBA), will feature four universities in three conferences.

From 13 March at 20h30 EAT, Zuku will show highlights from all of the games and playoffs through the weekly magazine show BAQE on Zuku Sports and Zuku Sports HD.

Dubai Film Market announces Enjaaz projects to receive production support

Enjaaz, the production funding initiative of the Dubai Film Market (DFM), has announced seven of the most promising short films by Gulf filmmakers that have been chosen as the recipients of Enjaaz funding.

Widening the choice of Gulf films shown to audiences and supporting a sustainable film industry in the region, Enjaaz was launched in 2009.

To strengthen the support for the production of Gulf short films, Image Nation Abu Dhabi continues to partner with Enjaaz and have collaborated on many of the projects selected this year.

Masoud Amralla Al Ali, Festival Director of GFF commented that Enjaaz is committed to supporting the Gulf’s talented filmmakers and that they’re pleased to be working with Image Nation to provide filmmakers with the resources they require to achieve the desired quality for their films. “We are delighted to see more gripping storylines and artistic innovation every year and we’re pleased to be supporting their journeys,’ he added.

Said Mohamed Al Mubarak, Chairman of Image Nation: “Image Nation is proud to work with Enjaaz to provide up-and-coming filmmakers from the Gulf with the resources and support they need to develop breakthrough work. We look forward to seeing the contributions these filmmakers will continue to make to the growing filmed entertainment industry in the UAE and the region.’

The list includes emerging filmmakers as well as experienced directors:

A Long Night by Kamiran Betasi – Iraq
Bus 321 by Hussain AlMutlaq – The Kingdom of Saudi Arabia
Who Killed Sarah by Mohamed Al Saber – The Kingdom of Saudi Arabia
The Deep by Haider Rashid – Iraq
The Bad Hunter by Sahim Omar Khalifa – Iraq
Souq Al Markazi by Saleh Nass – Bahrain
Bicycle by Aieas Jehad – Iraq

Each year, films supported by Enjaaz are considered for the Gulf Film Festival and the Dubai International Film Festival (DIFF), and travel to other festivals worldwide. Selected films also have the opportunity to qualify for consideration for the Oscars if they win at the Muhr Arab Shorts competition at DIFF.

Previous recipients of DIFF’s support programme for short films which have achieved international acclaim are: It’s About to Rain by Haider Rashid, Baghdad Messi by Sahim Omar Kalifa and Cotton by Luay Fadhil.

Full-length feature films that received support from Enjaaz’s post-production funding programme are Oscar nominee Omar by Palestinian director Hany Abu-Assad and BAFTA nominee Wadjda by Saudi Arabian filmmaker Haifaa Al-Mansour.

Moroccon film Traitors selected to screen at Tribeca Film Fest

Traitors, a Moroccon narrative feature-length film, has been selected to screen at Viewpoints, an out-of-competition section of this year’s 13th Tribeca Film Festival, which runs from 16 to 27 April.

Directed and written by Sean Gulette, Traitors will have its North American premiere at Tribeca. In Gulette’s feature debut, Malika sees music as a way to escape a boring and conservative life in Tangier and relishes her role as the lead singer of an all-female punk band.

To get the money for recording after a producer expresses an interest in her music, Malika’s only option may be a drug run across the Moroccan border. Traitors is described as “a spirited and rebellious journey of a young woman breaking from the traditional life set before her’. The movie is in Arabic, English and French with subtitles.

Other movies lined up as part of Viewpoint are writer-director Mariana Rondon’s coming-of-age drama Bad Hair (Pelo Malo); the classic, film noir thriller Black Coal, Thin Ice (Bai Ri Yan Huo), which won the Golden Bear at this year’s Berlin Film Festival; director and producer Leigh Janiak’s brooding domestic drama Honeymoon; Karpotter (Karpopotnik), a Slovenian road movie about place, time and memory, directed and written by Matjaž Ivanišin; Love & Engineering, a documentary directed and written by Tonislav Hristov which questions whether there is an algorithm for love; director David Mackenzie and writer Jonathan Asser brings the brutality of British prison life to screens in Starred Up; directed and written by Onur Tukel, Summer of Blood is a dark (vampire) comedy about love, lust and humanity; and Young Bodies Heal Quickly, directed by Andrew T Betzer, follows the mesmerising transition of two brothers from drifters to men.

Viewpoints is dedicated to launching new voices and embracing risky and completely original storytelling at Tribeca Film Festival.

Director Maynard Kraak discusses new rom com Vrou Soek Boer

SCREEN AFRICA EXCLUSIVE: Maynard Kraak, the director of new Afrikaans romantic comedy Vrou Soek Boer, talks to Screen Africa about why he thinks the movie will be a success at the box office, the important role the casting played in anticipating the film’s success and the positive feedback he’s received from audiences.

“With Vrou Soek Boer, I set out to make a romantic comedy that stayed true to the genre, that was honest and rang true to the film’s core themes. It is also important to shift away from slapstick yet to remain within the commercial realm. My burning desire is for South African film to make that step forward, and for our audiences across the language and race demographic to be proud of our own stories brought to the screen,’ says Kraak.

He mentions that it is difficult to compare South African films to international movies to which we are accustomed. “Vrou Soek Boer is cinematic, even for a talking-heads genre like a rom com, and takes the viewer on a journey,’ Kraak continues. “The entertainment may be light, but the story maintains its integrity, and is always truthful. And you genuinely laugh out loud at the fresh dialogue and inventive characters. This is a story that is what it says on the can – it is a romantic comedy, in the true sense of the word.’

Competitive local landscape

In terms of financial viability in the competitive Afrikaans film landscape, Kraak says that his objective was to make a commercial feature film, which is why he chose to produce an Afrikaans film in the romantic comedy genre.

Comments Kraak: “The Afrikaans market was saturated last year, and with so many movies in cinemas, audiences were bound to more selective about what they chose to watch, resulting in many films failing at the box office. With this in mind, I knew that a good screenplay was not enough and that casting the movie with the correct mix of actors was always going to be critical. I had Lika Berning in mind for the lead role early on. Not only had I worked with her previously, but she had not been in a leading role since Liefling, the highest grossing Afrikaans film at the box office in recent history.’

He elaborates, “Next I had to cast the male romantic leads, and my first thought was Nico Panagio for whom I have the utmost respect as a film actor. Not only was he the lead in Semi-Soet, but his profile as one of the sexiest men in South Africa, convinced me that he was the right choice. Then to complete the love triangle, I had to bring in an actor with the same sex appeal and profile.

“After I saw Platteland, I knew that Bok van Blerk was the one. His understated and natural performance would work perfectly on the big screen. At the end of the day, the box office success will be determined by the public, but we stand a better chance with the stars we have in the film.’

Positive feedback

According to Kraak, test audiences provided only positive feedback, and the Johannesburg premiere of the film at Montecasino was a huge success. Says Kraak: “The audience loved the charming and funny characters, and particularly enjoyed the on-screen chemistry between the lead actors. Furthermore, there has been an electrifying buzz around the film particularly in the build up to the premiere, and subsequently, as we await the release of the picture. The response on social media has been incredible, and currently our Facebook followers number in excess of 13,400.’

Kraak comments that Vrou Soek Boer is essentially a universal story that will appeal across a wide spectrum. “It is your quintessential date movie, with a female protagonist who is thrust into a fish-out-of-water situation. Will she overcome the challenges a professional city girl will encounter in the countryside and will she find true love? There are many obstacles in her path to happiness, not least of all herself.’

Vrou Soek Boer was shot on the Red Epic with Anamorphic Prime lenses “to showcase South Africa’s beautiful locations. Add to that a fabulous soundtrack, and we have a thoroughly enjoyable picture that invites the audience to escape their daily grind, albeit for only a couple of hours. I trust though, that the film will dwell fondly in their memories for after that, and that the desire will be there to watch it again,’ concludes Kraak.

Kraak’s film was funded by the Department of Trade and Industry, the Gauteng Film Commission, the National Film and Video Foundation and the Industrial Development Corporation.

The movie was produced by Johannesburg-based West Five Films and screens nationwide in South Africa from Friday 7 March through Times Media Films.

Report by Martie Bester

Award-winning documentary Rising from Ashes screens in Johannesburg

SCREEN AFRICA EXCLUSIVE: On Thursday 27 March a Gauteng audience had the opportunity to watch the first South African screening of the award-winning feature-length documentary, Rising from Ashes, at the Sci-Bono Discovery Centre in Newtown, Johannesburg.

Rising from Ashes, directed by T.C. Johnstone, and partly shot in South Africa, tells the inspirational story of cycling legend Jock Boyer who moved to Rwanda to coach a group of talented cyclists, all genocide victims left scarred by the war, to accomplish the near impossible – to pursue their dream of establishing a national team.

The movie is beautifully filmed, and perfectly structured and balanced as it tells the tale of Boyer’s own painful journey of rising from the ashes to give these young men hope for a future they never thought would be possible.

Says Boyer, “Never in my wildest dreams had I imagined doing something that could impact people, and these guys, when they go home (to Rwanda). It is not just about changing the life of one rider, which is inevitable when they become part of the team, but it changes their families, it changes their communities and it has changed the whole nation to becoming one that embraces cycling, it is part of their culture now.’

Rwanda, left ravaged after the war, had no heroes. “It is even about giving hope to the kids now that they have heroes, about giving a nation something and someone to be proud of,’ added Boyer.

“With Team Rwanda, we started something that has turned into much more than we could ever have imagined. Even though it is the most difficult thing I have ever done it is the most rewarding thing I have ever achieved,’ he said.

All three riders present at the event, Janvier Hadi, Patrick Byukusenge and Bonaventure Uwizeyimana, are based at the Union Cycliste International (UCI) World Cycling Centre South Africa in Potchefstroom and two of them are leaving soon for feeder teams in France and Canada respectively.

In 2012 Team Rwanda started with the development of Africa’s all-black, all-African team with its sights set on competing in the Tour de France, the cycling world’s most demanding race.

The fundraising event was attended by the Rwandan High Commissioner, Vincent Karega, who emphasised the importance of the film carrying a positive message to the world about Rwanda and that the country is actively striving for – and achieving – peace, stability and rejuvenation.

Visit: http://risingfromashesthemovie.com/ for more information.

Planning on staying in Rwanda for three months only, Boyer has been living there for seven years with his wife Kimberly, an acrobatic cat, a gentle dog and an affectionate crow.

Report by Martie Bester

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