This was IIFF 2024: A Week of Film, Learning, and Networking
The International Images Film Festival for Women 2024 brought global filmmakers together for a transformative week of groundbreaking films, educational masterclasses, and vibrant cultural exchanges to amplify women’s voices and foster cross-cultural dialogue through cinema.
The International Images Film Festival for Women (IIFF) 2024 ran successfully from August 23 to 31 at venues across Harare, attracting a distinguished audience including figures from the arts, media and diplomatic communities in addition to local filmmakers for a memorable week of cinematic celebration.
IIFF 2024 Opening Ceremony
IIFF 2024 opened at the National Gallery of Zimbabwe where ongoing exhibitions provided a fitting atmosphere for the twenty-first edition of Zimbabwe's most internationally acclaimed film festival. IIFF Director Ms. Eresina Hwede, in her opening remarks, emphasized the festival's position as a hub for not only learning through entertainment, but also as a platform for collaboration between players in the industry. Ms. Hwede emphasized the importance of ICAPA Trust’s mission in empowering women in the creative sector. The guest of honour, multi award-winning business phenomenon Divine Ndhlukula, who made her new book ENTREPRENEURIAL SUCCESS: INSIGHTS ON GROWING BUSINESS available to audiences during the evening, said, “This festival is a celebration of women’s resilience, creativity, and ability to shape the world through storytelling." The Sudanese production, GOODBYE JULIA (Sudan 2023, d. Mohamed Kordofani), which opened the festival, resonated deeply with the local audience, bringing many Zimbabweans in attendance to reflect on the socio-economic divides they face in the real world. The film tells the story of two Sudanese women who navigate racial boundaries in Khartoum after an assassination takes place at a time when their war-torn country is on the brink of division.
IIFF 2024 Venues and Screenings
Besides the National Gallery of Zimbabwe, film screenings took place at Batanai Mall, Alliance Francaise, and Dzivarasekwa, and Hatcliffe community halls, locations selected to boost IIFF's inclusivity and accessibility by bringing the festival programme to diverse audiences. Films in the festival selection, such as THE FRIENDSHIP BENCH (USA 2024, d. Reabestwe Moeti-Vogt) moved viewers deeply and highlighted the power of cinema to reflect their lived realities. Directed by upcoming South African Moeti-Vogt, pointing to the need to upskill more Zimbabwean women directors, THE FRIENDSHIP BENCH narrates how Dr Dixon Chibanda put into practice a government directive to tackle the country's intensifying mental health challenge by equipping older women in communities, called Gogos (grandmothers), with counselling skills which Chibanda developed specifically to meet Zimbabwean needs. With over 100 000 clients served to date, Friendship Benches around the country provide mental health services to members of the public at no cost. Post-screening discussions attested to the effectiveness of THE FRIENDSHIP BENCH programme to deliver its services to a variously traumatised Zimbabwean population. Of particular interest to the audience was the nudge to men to take care of their mental health through the depiction of Sekuru Diamond, a male counsellor who revealed that very few men go for counseling because of fear of judgement, and as a result of patriarchal stereotypes which lead men to believe that they should not be affected by mental health problems.
In other local programing, the short documentary, MATOBO: FROM HUTS TO POTS (Zimbabwe 2024, d. Tswarelo Mothobe) which was commissioned by the German Embassy and screened at the Zimbabwe German Society, evoked praise for its portrayal of the artistry and resilience of Matobo women. North African documentary, SHE HAD A DREAM (Tunisia 2020, d. Raja Amari), was also much admired for its intimate portrayal of a passionate activist who openly voices her opinions and eventually thrives in politics, even though she had previously faced shocking racial discrimination. The enthusiastic post screening discussion centered around how the film highlights female politicians' growing involvement in decision-making processes, especially in Africa where women increasingly challenge political and social norms in order to advocate for change, despite the patriarchal nature of their socio-political systems.
Meanwhile, OUR FATHER, THE DEVIL (France/USA 2023, d. Ellie Foumbi) captured audiences' attention with its gripping narrative and powerful performances, particularly Belgian actress Babetida Sadjo's interpretation of the protagonist Marie, a former child soldier in the Democratic Republic of Congo. The film’s delicate yet intense exploration of trauma, vengeance, and moral dilemmas left viewers on the edge of their seats, sparking deep discussions about the personal and collective consequences of war.
IIFF 2024 Training and Networking
In addition to film screenings, IIFF 2024 offered a full programme of training and networking events. Three master classes in Story and Script Development, Film Music and Feminism and Film were held at the Alliance Francaise, presented respectively by renowned film analysts Gabriele Sindler from Austria and Donat Keusch from Switzerland, filmmaker Carla Sospedra from Spain, and American musical composer Osei Essed. Ms Wanjiru Kinyanjui, who lectures at the Multimedia University in Kenya, facilitated a week-long pre-production workshop which equipped local filmmakers with the skills and confidence to navigate the complexities of their upcoming projects.
Meanwhile Sindler and Keusch also facilitated ICAPA Trust's third Equal Voices Story and Script Development Workshop (EVW). The EVW is a series of trainings to elevate African filmmaking through improving the quality of African scripts. Following previous workshops in Dakar and Lagos, the Harare edition attracted twelve projects, with eleven coming from Africa, and one - courtesy of the Austrian Embassy - from Europe. Kenyan filmmaker Agnes Kola described an intense but rewarding workshop in which homework was delivered late in the evening, and feedback received the next day, leading to further revision work on the same day. A networking dinner held at a local restaurant saw members of the local business community pledging to take a greater interest in IIFF and its training initiatives.
IIFF 2024 Closing and Awards Ceremony
The IIFF 2024 Closing and Awards Ceremony, also held at the National Gallery of Zimbabwe with the full house of guests dressed to kill, was a fitting finale to IIFF 2024. Emphasising the importance of celebrating women’s voices, Guest of Honour, groundbreaking business executive and Africom CEO, Rudo Mudavanhu said, “It is crucial that we create spaces for women’s narratives to be heard and celebrated, as they have long been sidelined in cinema.” The closing film ON BECOMING A GUINEA FOWL (Zambia/Ireland 2024, d. Rungano Nyoni) which explores themes of young women's trauma due to sexual abuse in the family, hit hard and divided the audience with many applauding the film for portraying harsh realities usually ignored in our patriarchal societies, while others criticised the film for disrespecting African culture.
In spite of stiff competition from over sixty global films screened in six categories, Africa came away with four winners at the awards presentation which took place after the last screening at the week-long festival. SADC made a strong showing, scooping two of the four African winners. Pierre de Villiers from South Africa received the Best Cinematography award for GOODBYE JULIA, while Zimbabwean filmmaker Olivia Jembere won the Most Improved Storytelling Award for her short film project SHUNGU (PASSION). Dancing to the sounds of Pauline Gundidza and her band concluded an exhilarating evening devoted to women's film narrative.
In addition to support from Alliance Francaise and the Austrian Cultural Forum, IIFF 2024 was made possible through the generous sponsorship of the US Embassy, the Spanish Embassy, the German Embassy, as well as Africom. Invited government film and arts officials were conspicuous by their absence at the closing ceremony and throughout the festival, perhaps underestimating the importance to positive social progress of women's equal participation in a powerful medium which traditionally objectifies, exploits and marginalises women.
