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Final Cut in Venice announces winning projects

3-day lab supports African and Arab films in post-production

Three African films participating at the the 2021 Final Cut in Venice, have been recognised by the Co-Production Bridge’s Jury of Supporters after the 3-day lab for films in post-production.  The 2021 edition of the 3-day lab took place between September 5 and 7 during the Venice International Film Festival.

Winners announced at 2021 Final Cut in Venice
Image copyright: labiennale.org

Producer-Director Erige Sehiri’s UNDER THE FIG TREES/TAHT EL KARMOUSS (a co-production involving Tunisia, Qatar, Switzerland and France) received eight awards offering support towards but not limited to color correction (courtesy Laser Film), sound mixing (Mactari Mixing Auditorium), distribution (MAD Solutions), subtitling, creating DCP formats, accessibility content for audiences with disabilities (Sub-Ti Access Srl), participation at the ElGouna Film Festival’s CineGouna Industry Platform, as well as purchase of two-year broadcasting rights on Rai Cinema.

Also on the winners’ list is THE MOTHER OF ALL LIES (Morocco, Germany, Qatar), a documentary directed by Asmae El Moudrir and produced by Silvana Santamaria. The film is the recipient of support towards color-grading, production of a DCP master amongst a bouquet of benefits courtesy Titra Film. It was also awarded the "'Coup de cœur de la Cinémathèque Afrique', consisting of the acquisition of the non-commercial and non-exclusive broadcasting rights for 7 years with a value of € 4,000 – 6,000 depending on the genre, length and available territories of the film".

Rafiki Fariala’s documentary WE STUDENTS / NOUS, ÉTUDIANTS! (Central African Republic, France, Democratic Republic of Congo, Italy) received the OIF Prize as refund for post-production costs and support towards DCP production costs courtesy Festival International du Film d’Amiens

In total, there were five African films participating at this year’s Final Cut in Venice, which featured six projects in post-production. Other African films in the lab were MAMI WATA (dir. C.J. Obasi; Nigeria/France), and THE NIGHTS STILL SMELL OF GUNPOWDER (dir. Inadelso Cossa; Mozambique/Germany/France/Norway/the Netherlands/Portugal)

Final Cut in Venice is a workshop that supports films in post-production from Africa and Arab countries (Iraq, Jordan, Lebanon, Palestine and Syria). Read more about the winning films here: https://www.labiennale.org/en/news/awards-final-cut-venice-2021