Round table with Annouchka de Andrade, Olivier Hadouchi and Mathieu Kleyebe Abonnenc, moderated by Chema González
Sarah Maldoror’s films have seen a resurgence as the work of a key filmmaker in the wave of Third Cinema from the global south during the decolonization movement in the decades of the 1960s and 1970s, in addition to being the starting point in the search for a cinema conducive to a subaltern identity and in diaspora, such as it was the African culture linked to the négritude movement founded by poets Aimé Cesaire, Leon G. Damas and Leopold Senghor. These themes are what have made her work of enormous interest to artists, historians, image theorists and anyone committed to anti-racist and minority audiovisual practice. This round table, to be made up of an artist, Mathieu Kleyebe Abonnenc, a film historian, Olivier Hadouchi, and the filmmaker’s daughter and collaborator Annouchka de Andrade, seeks to place Sarah Maldoror within the context of Third Cinema, while also studying what her place is in her current revival and what kind of poetic and political teachings might come out of her vital films and filmmaking practice.
The round table will take place following the screening of the session The Wretched of the Earth III: the anti-colonial uprising.
PRÉFACE À DES FUSILS POUR BANTA
Mathieu Kleyebe Abonnenc / 2011 / 28’ / French Guiana (pag 113).
Annouchka de Andrade
Director of the Amiens Film Festival, she is the daughter of Sarah Maldoror and one of the main architects in the resurgence of her work.
Mathieu Kleyebe Abonnenc
Originally from the Antilles like Sarah Maldoror. His work takes an approach to the filmmaker with an eye to reconstructing the personal stories and relations of the early decolonization movement. Abonnenc made Préface à des fusils pour Banta (2011), an audiovisual installation based on Sarah Maldoror’s lost debut feature film, which was taken out circulation by the Algerian government.
Researcher, teacher and independent programmer. He has a PhD in Film Studies from the University of Paris 3-Sorbonne Nouvelle, where he is also a professor. He is the author of the books Images of non-aligned and tricontinental struggles (2014) and Kinji Fukasaku: Un cinéaste critique dans le chaos du XXe siècle (2009). He curated the “La Tricontinental. Cine, utopía e internacionalismo” at the Reina Sofía Museum (2017).
He is the Head of Cultural Activities at the Reina Sofía Museum, where he develops its cultural and audiovisual program. He curated this first retrospective dedicated to Sarah Maldoror, with the title “Sarah Maldoror, poeta y cineasta de la negritud” (Reina Sofía Museum and DocumentaMadrid, 2019).