Dieudo Hamadi
Рождение : , Kisangani, Democratic Republic Of Congo
История
Congolese filmmaker.
Producer
Вот уже два десятилетия жертвы Шестидневной войны в Демократической Республике Конго борются в Киншасе за признание этого кровавого конфликта и требуют компенсации. Устав от безуспешных просьб, они наконец решили высказать свои претензии к Киншасе, после долгого путешествия вниз по реке Конго.
Writer
Вот уже два десятилетия жертвы Шестидневной войны в Демократической Республике Конго борются в Киншасе за признание этого кровавого конфликта и требуют компенсации. Устав от безуспешных просьб, они наконец решили высказать свои претензии к Киншасе, после долгого путешествия вниз по реке Конго.
Director of Photography
Вот уже два десятилетия жертвы Шестидневной войны в Демократической Республике Конго борются в Киншасе за признание этого кровавого конфликта и требуют компенсации. Устав от безуспешных просьб, они наконец решили высказать свои претензии к Киншасе, после долгого путешествия вниз по реке Конго.
Director
Вот уже два десятилетия жертвы Шестидневной войны в Демократической Республике Конго борются в Киншасе за признание этого кровавого конфликта и требуют компенсации. Устав от безуспешных просьб, они наконец решили высказать свои претензии к Киншасе, после долгого путешествия вниз по реке Конго.
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?
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?
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?
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?
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.
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.
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.
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.
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.
Writer
Documentary about elections in Congo.
Director
Documentary about elections in Congo.
Director
A quartet of powerful, hard-hitting short films that lay bare the disturbing reality of everyday life in the Democratic Republic of Congo.
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.