Cecile Emeke is a contemporary filmmaker based in London. Through her lens, Cecile Emeke has created her own unique platform by connecting the complex voices and realities from the Black diaspora-s.\u00a0Cecile\u00a0is widely known for the global online documentary series\u00a0Strolling\u00a0and the short film turned sitcom, Ackee & Saltfish \u2014\u00a0<\/i> most recently commissioned for\u00a0BBC\u00a0Three’s Comedy Feed.\u00a0<\/i>Her work is a critical success and has been featured in the press worldwide from the New York Times to the BBC.<\/p>\n

Strolling \/ Cecile Emeke \/ 2016 \/ United Kingdom \/ 50 min \/ English<\/strong><\/p>\n

Strolling<\/i> is a presentation of documentary shorts in which young Black people voice their worlds while strolling about their cities. The first installment of Strolling<\/i> was filmed in London and\u00a0 followed up with corresponding series like Fl\u00e2ner <\/i>(France), Wandelen<\/i> (Netherlands) and Passeggiando<\/i> (Italy). Subjects addressed in these meandering dialogues include art, history, neocolonialism, mental health, misogynoir, day jobs, dialects, and more. Strolling is both a visually enticing work of documentary art and an effort to preserve and disseminate young Black thought on subjects both mundane and groundbreaking.\u00a0 Cecile’s \u00a0close-up cinematography and the\u00a0 space she gives her subjects to say whatever is on their minds create the intimacy of a conversation between friends that allows the trivial to turn transformative.<\/p>\n

Q&A with Cecile Emeke chaired by A\u00efcha\u00a0Diallo. The conversation will focus on Emeke’s practice and the role her digital projects have in opening dialogue and bringing in an intersectional framing.<\/p>\n

This screening is organized in cooperation with Top Rank Magazine<\/a>.<\/p>\n

\n","protected":false},"excerpt":{"rendered":"

Cecile Emeke is a contemporary filmmaker based in London. Through her lens, Cecile Emeke has created her own unique platform by connecting the complex voices […]<\/p>\n","protected":false},"author":2,"featured_media":1536,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"_links":{"self":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/1535"}],"collection":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/comments?post=1535"}],"version-history":[{"count":2,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/1535\/revisions"}],"predecessor-version":[{"id":1538,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/1535\/revisions\/1538"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/media\/1536"}],"wp:attachment":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/media?parent=1535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/categories?post=1535"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/tags?post=1535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}