(From left to right) Stéphane Bak and Marc Zinga in 'The Mercy of the Jungle.' Photo courtesy of TIFF.

Congolese Actor Stéphane Bak on His Intense Experience Shooting 'The Mercy of the Jungle' In Uganda

We catch up with the actor after the film made its North American premiere at TIFF.

When actor Stéphane Bak first got the script for The Mercy of the Jungle (La Miséricorde de la Jungle), he knew there was one person he had to consult: his father. "My dad did school me about this," he says. While Bak was born and raised in France, his parents had emigrated from what was then Zaire in the 1980s—before the events of the movie, and not exactly in the same area, but close enough to be able to pass on firsthand knowledge of the simmering ethnic tensions that underpin the action.

The story takes place in 1998, just after the outbreak of the Second Congo War—which came hot on the heels of the First Congo War. Two Rwandan soldiers find themselves separated from their company and have to make a harrowing trek through the jungle to link back up with their regiment. Bak plays Private Faustin, the young recruit hunting Hutu rebels to avenge his murdered family, a foil to Marc Zinga's seasoned Sergeant Xavier. As a Congolese militia swarms the area, and it becomes increasingly difficult to tell enemies from friends, the two are forced off the road and into the thick vegetation.

Their journey is physically difficult, but the jungle also nurtures them, providing food, water, and shelter. "The title is very explicit in a way," says Bak. It is the human beings they encounter, from rival soldiers and militiamen to the hostile security forces guarding illegal gold mining operations, who bring sudden danger and violence. The challenges are conveyed as much through the actors' physicality as through the minimal dialogue. As for the strain on his face, Bak says it was all real. "To be honest, it was very difficult," he says of the shoot, which took him 25 days. "I had to learn my accent in two weeks." Prior to commencing, there was training with the Ugandan army for realism. Due to the ongoing conflicts in the DRC, the movie itself was shot in Uganda.

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Photo still by Elsa Bleda, courtesy of WOLF PR.

Jahmil X.T. Qubeka on Telling the Visceral Story of South Africa's Legendary Outlaw, John Kepe

We touch base with the South African director for an in-depth review on his second TIFF premiere, 'Sew The Winter To My Skin.'

The tagline for Sew The Winter To My Skin, a new film by South African director Jahmil X.T. QubekaOne man's bandit is another man's champion—frames the essential question at the heart of the story. Distinctly South African in flavor, but universal in its themes is what drew Qubeka to reimagine the story of John Kepe, a legendary outlaw of the early days of apartheid.

"I chose the legend of John Kepe—for me, it was a great canvas for grappling with humanity and all its contradictions," he says. "It allows me to take the archetypes and mess with them."

The film made its world premiere at the Toronto International Film Festival and it's the second movie the South African filmmaker has premiered at TIFF. In 2013, his film Of Good Report screened there after it was briefly banned by the South African Film & Publications Board, and withdrawn from the Durban International Film Festival. Qubeka is often dubbed "controversial" because of the blow back, but it's not a label he identifies with. "It's not something I court." Despite the "there is no bad publicity" adage, he says the bad buzz that followed Of Good Report caused more harm than good. In the end, it's just about making movies. "I don't concern myself with overall conclusions," he says. "The minute an audience sees something, it becomes theirs. I consider myself an entertainer."

The story of Sew The Winter To My Skin takes place in the 1950s, not long after the all-white National Party gained power and apartheid became an entrenched system. It covers the last chase of the white Afrikaner sheep ranchers as they close in on the bandit who stole from their flocks to give to the people who were dubbed "natives" in the local press.

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A still from Fig Tree courtesy of the filmmaker

Meet the Director of 'Fig Tree,' a New Film About Young Love in the Midst of the Ethiopian Civil War

At TIFF, we talk to Aäläm-Wärqe Davidian, the Ethiopian-Israeli filmmaker telling a story that has parallels to her own life

To be 16, in love, and in the middle of a civil war—that's the territory mined by Ethiopian-Israeli filmmaker Aäläm-Wärqe Davidian in Fig Tree, which received its official World Premiere at the Toronto International Film Festival (TIFF). It's her first feature film, and one of several directorial debuts by Africans – and African women, in particular – that premiered at TIFF in 2018 where Davidian was named one of the "Directors to Watch."

Set in Addis Ababa in 1989, the story revolves around Mina, a 16 year-old girl Jewish girl living with her grandmother and brother. The family tries to keep going as the war rages around them, and as they make increasingly frantic plans to flee the country for Israel, where Mina's mother already waits for them. But Mina is also a girl in love, giving her a private anguish to deal with along with the general tension and anxiety that permeates her world. Eli, her boyfriend, is Christian, and just the right age to join the local militias. Eli hides in the forest, making the great fig tree their meeting place.

Aäläm-Wärqe studied her craft at the Sam Spiegel Film & Television School in Jerusalem, and then worked as a researcher for noted documentary filmmaker Ada Ushpiz. It was there that she woke to the realization that film was her true medium. "This is my language," she says.The filmmaker based the story on her own experiences growing up in war torn Ethiopia. Born in Awash, she grew up there until the age of 11, when her family, much like Mina's, fled to Israel under what is called Operation Solomon. Once she got to Israel, she says she was surprised to discover that people thought of Ethiopia as a Third World country. Over time, the feeling lent momentum to her film making ambitions. "I must share my world, my people," she says. It was the world of Ethiopian Jews she didn't see reflected in the media around her; even more so, the lives and stories of its women.

The film conveys the simmering tension of Mina's world with an unflinching and unsentimental eye. Trucks of soldiers come rumbling into town without warning to scour the streets and forcibly kidnap any eligible young men and boys for their armies. The kids in the school panic and run, the streets are engulfed in chaos, and then comes the miserable wailing of the unfortunates who are hauled onto the truck and taken away. Mina's brother was once one of them, returning home with a stump where his right arm used to be. Menacing public officials come for an ominous census. "Do dirty Jews live here?" they ask. The shocking exists alongside the banal in the only world that Mina has ever known. She is determined to wangle a passage to Israel for Eli too, her stubborn teenage optimism at odds with the reality of their situation.

Davidian used a local crew and cast of Ethiopian actors, including genuine survivors of the Civil War. They bring a sense of authenticity to roles that often convey more without words than in the dialog, including the self-serving broker who's arranging the secret airlifts to Israel for profit, the stalwart grandmother who doggedly keeps the household together, and the paraplegic soldier whose existence casts the pall of dark truth over the story.

It was from her childhood memories that Davidian found not just the backdrop, but the characters for the story, including the grandmother. It was the role of women during wartime that became her focus. "They manage the war," she says. "The everyday routine the women build during the war. They build something so beautiful." In that perseverance and desire to create and maintain a home in the midst of chaos, she finds the spark of hope in the story. "It was very interesting to understand her love for life," she adds.

The dialog is in Amharic with both English and Hebrew subtitles, and the movie stars Betalehem Asmamawe, Yohanes Muse, Weyenshiet Belachew, Mareta Getachew, Mitiku Haylu, Kidest G/Selasse, Tilahune Asagere, and Rodas Gizaw.

A still from Fig Tree courtesy of the filmmaker

The film is beautifully shot, offering audiences a real sense of intimacy with both the character and her environment. The warmly lit calm of the fig tree where Mina and Eli spend their happiest hours together erupts into the tension of running through the streets, frantic to hide any boys or young men from the marauding bands of soldiers.

While Fig Tree got its official World Premiere at TIFF, it did also screen at the Haifetz Film Festival last year. On September 8, 2018, Fig Tree garnered the Best Cinematographer Award for Daniel Miller at the 2018 Ophir Awards, the Israeli equivalent of the Oscars. Fig Tree had been nominated for five Ophir Prizes, including best film, and best screenplay, after its screening at the Haifa Film Festival. Miller is a long time collaborator with Davidian, a creative partnership she says goes back to their student days at Sam Spiegel. She says they worked on the movie for about two years before the actual shooting began. Overall, it took six years or so to put the production together, including securing funding from a variety of sources. Presented by Black Sheep Film Productions, av Medien Penrose, and En Compagnie Des Lamas, the movie is an Israel/Germany/France/Ethiopia co-production.

Aäläm-Wärqe Davidian. Photo courtesy of the filmmaker

Davidian's future plans include a documentary about the gentrification of an Ethiopian Jewish community in Israel, with another script in the works. She's also writing a feature about an Ethiopian Jewish girl searching for a father she thought long dead. The situation of Ethiopian Jews is certainly rich territory worthy of multiple film treatments. "All my short films are about immigration," she says, "what we bring to Ethiopia." As she notes, Jews were prevented from owning land there pre-Civil War. "During the war, we got some power," she notes. However, as the situation collapsed into vicious anarchy, it became untenable. The dynamics of power and powerlessness are brought down to human level in Mina's story.

Fig Tree is slated to open publicly in Israel in early 2019.

Watch the Q&A; with Aäläm-Wärqe Davidian from after the premiere:

Image courtesy of Ng'endo Mukii

We Spoke to Kenyan Filmmaker Ng'endo Mukii About Taking Part in TIFF's Filmmaker Lab

Mukii was the only African to take part in the prestigious Toronto International Film Festival's professional development program.

"As a Kenyan filmmaker, it means a lot. It validates my journey."

Ng'endo Mukii spent a busy week at the Toronto International Film Festival (TIFF) taking part in the Filmmaker Lab program. The professional development program is part of TIFF's industry conference, and brought together 22 emerging directors from all over the world. Ng'endo was the only filmmaker selected from the African continent.

Using a workshop approach, the participants were exposed to ideas and approaches to film making from a range of perspectives, with mentors like producer Cassian Elwes (Mudbound) and director Julie Dash (Daughters of the Dust). "Different ways of making film," she reports, "different ideologies. That's what I've been doing this week."

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