Dieudo Hamadi

Dieudo Hamadi

出生 : , Kisangani, Democratic Republic Of Congo

略歴

Congolese filmmaker.

プロフィール写真

Dieudo Hamadi

参加作品

Downstream to Kinshasa
Producer
For two decades, the victims of the Six-Day War have been fighting in Kisangani for the recognition of this bloody conflict and demanding compensation. Tired of unsuccessful pleas, they have finally decided to voice their claims in Kinshasa, after a long journey on the Congo River.
Downstream to Kinshasa
Writer
For two decades, the victims of the Six-Day War have been fighting in Kisangani for the recognition of this bloody conflict and demanding compensation. Tired of unsuccessful pleas, they have finally decided to voice their claims in Kinshasa, after a long journey on the Congo River.
Downstream to Kinshasa
Director of Photography
For two decades, the victims of the Six-Day War have been fighting in Kisangani for the recognition of this bloody conflict and demanding compensation. Tired of unsuccessful pleas, they have finally decided to voice their claims in Kinshasa, after a long journey on the Congo River.
Downstream to Kinshasa
Director
For two decades, the victims of the Six-Day War have been fighting in Kisangani for the recognition of this bloody conflict and demanding compensation. Tired of unsuccessful pleas, they have finally decided to voice their claims in Kinshasa, after a long journey on the Congo River.
Kinshasa Makambo
Producer
Christian, Ben and Jean-Marie are fighting for political change of power and free elections in their country, the Democratic Republic of the Congo. But the incumbent President refuses to relinquish power. How can the course of events be changed? Must they join forces with the historical opposition leader and his powerful party? Is dialogue still possible or must they resign themselves to a popular uprising and the risk of a blood bath?
Kinshasa Makambo
Writer
Christian, Ben and Jean-Marie are fighting for political change of power and free elections in their country, the Democratic Republic of the Congo. But the incumbent President refuses to relinquish power. How can the course of events be changed? Must they join forces with the historical opposition leader and his powerful party? Is dialogue still possible or must they resign themselves to a popular uprising and the risk of a blood bath?
Kinshasa Makambo
Director of Photography
Christian, Ben and Jean-Marie are fighting for political change of power and free elections in their country, the Democratic Republic of the Congo. But the incumbent President refuses to relinquish power. How can the course of events be changed? Must they join forces with the historical opposition leader and his powerful party? Is dialogue still possible or must they resign themselves to a popular uprising and the risk of a blood bath?
Kinshasa Makambo
Director
Christian, Ben and Jean-Marie are fighting for political change of power and free elections in their country, the Democratic Republic of the Congo. But the incumbent President refuses to relinquish power. How can the course of events be changed? Must they join forces with the historical opposition leader and his powerful party? Is dialogue still possible or must they resign themselves to a popular uprising and the risk of a blood bath?
Mama Colonel
Writer
Colonel Honorine Munyole is a robust forty-four-year-old widow and mother of seven young children – four of her own, three adopted. She wields her uniform, beret and black handbag like a protective shield, which her daily work desperately requires. More or less on her own, she runs a small police unit dedicated to protecting women who’ve been raped and children who’ve suffered abuse in the war-plagued regions of the Congo. At the start of Maman Colonelle, she’s transferred from Bukavu to Kisangani, arriving only to discover her future home and office in a desolate state. While she deals with such practical obstacles with suitable feistiness, the traumas and social deformities of the people around her have nightmarish dimensions: the envy surrounding those with state-recognised ‘victim’ status, hope for help from the ‘whites’, depression, helplessness.
Mama Colonel
Director
Colonel Honorine Munyole is a robust forty-four-year-old widow and mother of seven young children – four of her own, three adopted. She wields her uniform, beret and black handbag like a protective shield, which her daily work desperately requires. More or less on her own, she runs a small police unit dedicated to protecting women who’ve been raped and children who’ve suffered abuse in the war-plagued regions of the Congo. At the start of Maman Colonelle, she’s transferred from Bukavu to Kisangani, arriving only to discover her future home and office in a desolate state. While she deals with such practical obstacles with suitable feistiness, the traumas and social deformities of the people around her have nightmarish dimensions: the envy surrounding those with state-recognised ‘victim’ status, hope for help from the ‘whites’, depression, helplessness.
National Diploma
Director of Photography
In Kisangani, a group of high-school students who cannot afford to pay the teachers' "bonuses" organized themselves to prepare the State exam together.
National Diploma
Writer
In Kisangani, a group of high-school students who cannot afford to pay the teachers' "bonuses" organized themselves to prepare the State exam together.
National Diploma
Director
In Kisangani, a group of high-school students who cannot afford to pay the teachers' "bonuses" organized themselves to prepare the State exam together.
Atalaku
Writer
Documentary about elections in Congo.
Atalaku
Director
Documentary about elections in Congo.
Congo in Four Acts
Director
A quartet of powerful, hard-hitting short films that lay bare the disturbing reality of everyday life in the Democratic Republic of Congo.
Ladies in Waiting
Director
Taking in the wives of the unemployed, of unpaid government employees, the Kitambo maternity clinic in Kinshasa, Democratic Republic of Congo has to cope with its patients' lack of money. And negotiations are tough between the administration and the women. As long as the bill remains unsettled they are kept at the clinic, which only increases the cost of their stay. And here everything has a price, even a birth certificate. The women's protests against their poor accommodations or their claims that their husbands' pay is overdue can change nothing. The female administrator won't budge an inch. If you've no money, you stay put. "Hold me hostage instead of my wife," offers one man. A long suffering manager, herself at the mercy of the system, must negotiate collateral with them: a celebration dress, a pair of earrings, a suitcase, so they will return and pay in full.