The case of the audiovisual industry in the Democratic Republic of Congo is both tragic and humanely beautiful. It is hard to imagine that such an important television channel, created towards the end of the seventies, could have plummeted as it did. The general headquarters was housed in a beautiful 21 storey tower, built with the support of French Cooperation, and with small relay stations in every province of the country. National television had everything one could dream of as a TV channel: several modern studios, all the necessary technical equipment, a training center for the staff that also welcomed directors and technicians from the surrounding area. From the outside, it was a beautiful technical tool. But when one took a closer look… For example, there was a laboratory for reversal film. When one of the developer machine’s pieces needed to be changed, an order was sent to France, only to discover that it was a “prototype”. There were no replacements for the piece! The machine was never fixed, and the lab was abandoned to its fate.

Nowadays, the RTNC is one of the lousiest, most anarchist and bric-a-brac public televisions in SubSaharan Africa. The buildings themselves are in a state of ruin that is hard to describe: unhealthy, abandoned premises, obsolete and patched-up material, no electricity in certain parts of the building. There is absolutely nothing that could be considered acceptable. The enormous and fantastic tool is nothing but a carcass now. It is tragic!

However, despite all this, there are still people who try to make things work. There are shows, there are productions, there are broadcasts every day. There has been no quality at RDV for a long time (this statement is also valid for the television channels of other countries where there are economic means) and the standards are far below what they were once upon a time, but people make do with what there is. What a waste of energy! That same energy, used wisely, could create wonders.

Why the National Congolese Television as our focal point of interest? Because it could have been the pillar upon which to continue building. There was infrastructure, staff and economic means in the seventies. Imagine a small BBC in Africa. And yes, the English TV channel has more than sufficient economic means and unquestioned proficiency. Congo was the largest French-speaking country in the region and, at that time, had more than sufficient economic means to launch fiction and documentary films. Just so you have an idea of what I am referring to, the President at that time organised the Ali-Foreman fight for publicity reasons. Millions were swallowed by that publicity stunt.

We had an opportunity to impel a formidable tool that could have been developed with all the talent in the region. Instead of that, the political regime took over the television and turned it into a propaganda tool blaring its glory. Any dictatorship is always fearful of the development of a critical mind. It will do anything to avoid there being multiple sources of information, it will progressively destroy any signs of additional education and asphyxiate society.

First there was the mental death. Those people who wanted films were worn out and discouraged. Filmmaker Roger Kwami Mambu Zinga is one of the few to receive an education at a film school (IAD Belgium) and decided to remain working in the country. He never managed to get a project going with the State’s support. It was foreign coproductions that allowed him to make the documentaries he did make. And that only happened after years of struggle. The feature film project that he tried to make for twenty years never saw fruition.

Congo did not have (and still does not have) a state organism that finances cinema. There was a production department at the television, and Roger Kwami was its director. In reality, directors were not allowed to express themselves and were not provided with any suitable means to work with. The people in power did not have the mentality to make films, nor did they really want to. It was something they did not really understand. Their fear of the press (who had to be gagged) made them paranoid about everything that concerned the audiovisual world. For dozens of years, whenever a film crew came to Kinshasa, even if just to film a simple report, they had to brave high waters to get a filming permit. Even when the permit was granted, there was still the military, who could not care less about any piece of paper, to deal with on the streets. This applied to foreigners, and also to local filmmakers. In an atmosphere like this, how could anyone even imagine the birth of documentary films? Even taking pictures was forbidden.

The situation started to change for the better about 7 or 8 years ago. The decree that banned taking pictures/ filming, published during Mobutu’s dictatorship, was withdrawn. Things are not as yet perfect, but it works. Mentally, the country has still not recovered.

Then, there was economic death. There is no film institution in Congo besides the film department of national television. This department has no known budget, no support mechanism and there have been no film projects financed by the State. The financing problem of OZRT (Zairian Office of Radio broadcasting and Television) has been there since its beginnings. How to create an organism capable of financing itself? A solution was never found. The confinement of Zaire in those years and other parameters imposed by the dictatorship, was at the root of its stranglehold. There was no audiovisual economic fabric coming from touristic film as happened in Kenya or Zimbabwe. There was no commerce with the outside, therefore no possibility of creating any resources around publicity.

Finally, there came the physical death. During 25 years, no feature film was shot in Congo! The few documentaries that were filmed between the 1980s- 2000, were the product of the personal efforts of filmmakers passionately in love with the country. Over a 25 year period, this is one of the lowest ratios in Africa.

At the beginning of the nineties, a breath of fresh air ran through the country. Private television entered the audiovisual sector. The few competent human resources remaining at National TV scattered to the various new TV channels. The quality of public television fell even more. At the private channels it was not any better because the few talented people that there were, were surrounded by untrained or badly trained people.

PRODUCTEUR

Je suis dans l’évènementiel. Je produis des vidéos, du cinéma et des musiciens. Je tiens à label de production et c’est aussi un groupe de média citoyen (radio, site internet).

Au niveau local on produit une bonne dizaine. J’ai participé à « Blood in the mobile » comme coproducteur et Hunting Shadow. Nous sommes dans une zone de conflit et donc nos productions sont souvent liées à l’actualité.

Nos productions sont souvent du « quartier ». Pas d’école de cinéma, pas d’institution, on a rien et on fait tout sur le tas. On a pas de financement venant de l’étranger parce qu’on a pas les ressources humaines pour faire les dossiers. Comme il y a beaucoup d’ONG on exécute plutôt des commandes.

INTERNATIONAL FILM FESTIVAL (SKIFF)

The official opening ceremony of the 4th annual Salaam Kivu International Film festival took place on Oct 17, 2009 in Goma, Democratic Republic of Congo. The room was full on the Saturday evening and the festival was dedicated to the memory of Daniel Kambere, who was considered Yolé! Africa’s greatest mentor, who passed on October 8, 2009.

SKIFF is a 10-day festival that includes projections of films, contemporary and hip hop dance workshops, film and screenwriting workshops, and artisitic performances. It is Congo’s only international film festival and brings together activists for peace from across Africa, Europe, and America.

The opening ceremony included the recognition of Justine Masika Bihamba who won the 2009 Pax Christi Peace Award and the 2009 Human Rights Defender Tulip Award. Y!Dance performed a 30 minute contemporary dance performance choreographed by Sekombi Katondolo which shocked the crowd with its originiality and talent. The film projections of the evening include Mbasa by Modogo, a Congolese filmmaker, and Blind Date by Cyril Dicotte. Twenty-three youth hip hop groups from Goma danced off to inaugurate the pre-Salaam Kivu International Film Festival (SKIFF) events. All the groups practiced for months before this big day in hopes that they would be one of the seven groups chosen to participate in the SKIFF 2009 dance competition set for October 25th.

More than 250 dancers attended the event that was judged by two international professional dancers and two Congolese dancers. The seven groups will dance off again on SKIFF’s hip-hop day which last year attracted more than a thousand people. The winning group will have the chance to travel to Kinshasa to participate in a national competition.

The runner-up will dance in 10 locations across North Kivu province in areas that have been severely affected by the war. The youth of Goma are ready to show their talent and are ready for peace!

produced by Djo Munga & Steven Markovitz

This project came into fruition after a long process (near 6 years) and did not arrive at its definitive form immediately. The fact that there was no film school, no film institutions, that there was a scarcity of everything… To try and respond individually to the demands of young people hoping to make films would be too exhausting and, what is more, pretty useless.

The first reflection had to concern how to provide people with a film language in a minimum period of time and with very few means. The memory of a technical editing exercise that we used to do at the film school where I studied, prompted me to approach the INSAS and ask them if it would be possible to adapt this context to Congo. We associated and set up a 7 week training program during which 15 students, selected after passing an entrance exam, learned the basics of film language. Just to give you an idea on the bareness of Kinshasa, 5 or 6 years ago, there was not a single book on screenwriting in this city of 8 million inhabitants.

Subsequently, I realized that 7 weeks was not enough time to acquire the basics, no matter how simple, of cinema.

When they finished the training program, I took the seven best students and enrolled them in a nine month workshop in our production office. This lengthy workshop was designed to allow them time to deepen their knowledge through reading, seeing films (lots of films), analyzing them, doing practical exercises and participating in the occasional workshop with other professionals.

During their stint, the students made two short documentaries. The first, in the city of Kinshasa, in the capital, where our production office is located. This first film allowed them to work in an environment they knew, and to tell a story that was close to their hearts.

The second film had to be shot in a province far from the capital (and that did not coincide with the filmmaker’s province of origin). Here the game plan was inverted. The idea was to step out of oneself, and enter into unknown country to find the “others”.

The students did everything themselves: found the story, filmed it and edited it. The teachers were present solely to supervise, offer assistance with working methods and accompany the students on their reflection on film language.

When the workshop was finished, we had films that were practical exercises in direction, and that, in the end, were true films. The four short films were sent to South Africa for polishing (to tailor the editing). Steven Markowitz sent the films in to the Berlin Film Festival in a package of four short films. Taken together as a whole, they were a contemporary portrait of the country in its different facets: Congo in Four Acts.

The film was selected for the Berlinale. In the 60 years of the festival, a Congolese film had never been selected for the German film festival. It was a great success. From there, the film went on to more than 40 film festivals around the world, garnering numerous prizes. This opus took the film industry by surprise and renewed the general vision of Congo.

What was so special about the approach to ‘Congo in Four Acts’?

To start with, there was a true reflection on “poor

people’s” cinema. How does one shoot quality with very few means? You need time. And time is not expensive in Congo. With time, the students were able to find their stories and make them their own.

The next move was a film approach in the most classic sense. The learning process was not steered towards Africanism or any national discourse. The students focused on cinema as such, on the stories, on the filmmakers that they admired. As they told the stories themselves, each in its own particular context, with their sensibilities, the African identity seeped through on its own. I believe that what really seduced people in Congo, and abroad as well, was the uninhibitedness of the standpoint. We were seeing reality without having to project anything else to explain it. Reality was present in its most natural expression.

For the permanence of training

What this experience showed us is that if you teach with the right accompaniment, results can be obtained (and rather quickly).

Training (teaching) needs to be a permanent feature. ‘Congo in Four Acts’ was a fantastic, and happy, experience. But we need to set up a permanent training program if we want quality documentaries to continue being a fact in this country. Permanence would not only translate into films, but into a breeding ground for filmmakers and technicians, who could, slowly and progressively, increase the number of productions in the country. And also participate in the construction of film institutions.

The film school that came into being in Kinshasa with the name ‘Kinshasa Action Workshops’ will form part of a larger project, which will be the Institute of Arts. Films cannot exist without the work in parallel of the actors. In the same manner, if you wish to aspire to a quality aesthetic creation, you need to have a solid basis in Plastic Arts.

The future Institute of Arts will have three departments: Cinema – Dramatic Arts – Plastic Arts.

For obvious reasons (economy, standpoint, modernity of the language), documentaries should be at the heart of the training programmes, of the transmission and development of films. Ethics is also a vital stake. Filming has never been easier than nowadays, but the way of showing what we film, and the issues linked to those stories we tell, must be the keys to a new film language. There must be expectations to be met, investigation, a sturdy and respectful connection to the filmed subject.

And the ease of new technologies does not flow in that direction. Filming is available to anyone, but developing a language as we film is only available to those who work on the aesthetics, the ethics and the thought, all simultaneously. The project ‘Congo in Four Acts’ is a building stone for a new documentary language in Congo. Permanent training will work on a lasting renewal of film language and the development of an in- depth knowledge of contemporary and classic cinemas of the world.

The beginning of the nineties was marked by the coming of a multi-party regime. With the fall of the Berlin Wall and the end of the Cold War, the dictatorship found itself constrained to take the road to freedom of expression. A decision that translated into a law allowing the creation of a private television. At the beginning, there were two private channels. Year after year, this number grew until the day came for the first elections in the country, and the number of televisions soared. Each politician wanted to have his own channel to have his own soapbox. We counted up to 50 television channels just in Kinshasa. Some of them closed after the elections, but most of them continued.

There is no audiovisual policy, the sector has no regulations. There is no film institution besides National Television. But there has never been as many images in the country. There is always someone filming somewhere: soap operas, video clips, commercials, religious broadcasts, filmed theater. Anything that you can imagine on film… and more.

And what is going on with documentaries in all this? We often see people trying to assert themselves by working on real life in television reports. These attempts at documentaries are of very poor quality. It is pure amateurism, but the approach is sincere. What they are lacking is an education. There is nowhere where they can obtain a suitable formation. The RTNC (National Television) organises training modules in its training center, but it is not enough by half. What is more, the contents are obsolete. So, everyone does the best they can to learn this business anyway they can. From time to time, an Embassy organises a film workshop, or an NGO arranges an activity centering on journalism, and they discuss documentaries, but, basically, people depend on themselves and do the best they can with what they have picked up.

People move, search, try… There is an inordinate amount of energy flowing in every sense that pushes people to doing things. There are no professional results and it is frustrating. The only documentary images filmed recently were shot by foreign productions. From Staff Benda Bilili to the Symphony of Kinshasa, documentaries in Congo are filmed by foreign directors. The project Congo in Four Acts had an exceptional film festival life, but it is still an exception. In the same manner that director Petna Ndaliko Katondolo, based in Goma (East of Congo), organiser of the Skiff Festival and documentary maker in the country, is an UFO in the audiovisual space of Congo.

What is also fascinating, is that Congolese directors based in other countries have filmed very few documentaries in Congo. However, what they have filmed is very interesting for different reasons, even though they are always singular works, isolated in time.

Tango ya ba Wendo (Wendo, Father of the Zairian Rumba) 1993, Mirko Popovitch, Roger KWAMI Mambu Zinga

A film on the essence of Congolese popular music. A great urban film about Kinshasa at the beginning of the nineties.

Roi, la Vache et le Bananier (Le) (The King, the Cow and the Banana Tree) 1994, Mweze Dieudonné Ngagura

A true village film…funny, alive, with a true look at traditions. It is perhaps the best film by Mweze Ngangura. However, it was considered to be a part of a lesser genre. Mweze is only known for his fictional work, while this is perhaps his most personal work.

Entre la coupe et l’élection (Between the Cup and the Election) 2007, Monique Phoba Mbeka, Guy Kabeya Muya

A film made with young people about one of the rare legends of Zaire: the soccer team of 1974 that made it to the World Cup. The film has unexpected dimensions with striking revelations on contemporary Congo. It speaks of History, but it mostly tells about today.

Kinshasa Palace 2006, Zeka Laplaine

One of the rare personal films in the history of Congolese filmmakers. No one says “I”. Here is a documentary where they speak of self, of memory, of tracks. It is beautiful.

It is too bad there are not more films in this grouping. That would surely have changed the perception of the country in the world, but especially of the country as regards itself. The absence of an image of self is a true problem.

The Jihan el-Tahri case

Among those films that have marked Africa and that have left an indelible mark on cinema are two by this Egyptian filmmaker and they both take place in Congo.

The first is L’Afrique en morceau – La tragedie des grands lacs (2002). This film could probably be considered incomplete, because in the incredible algorithm of hidden information and the immensely complex situation of the Great Lakes, one of the protagonists refused to speak. And it is a pity, but that is also the beauty of the film as we view the tragedies that take place in the region. The stroke of genius resides in the art of telling the story, and how the stories intermingle, answer each other, unravel and have a life of their own.

It is a contemporary story. This did not take place 100 years ago, these are not just some obscure images that automatically recall the charm and romanticism of a time long past. The protagonists are the presidents of the Republic. Imagine making a film with Kennedy, Castro and Khrushchev during the crisis of the Bay of the Pigs.

The second film is Cuba, an African Odyssey. The film is not exclusively about Congo, but a large part of it speaks about this country. But, how could any country spoken of in the film not take possession of it? It speaks to something still poignant in our memories. I believe the sense of excitement, the thirst for truth, the sensation of a meeting point between intimacy and History with a capital “H” has never been as strong. And that is where the magic resides: History remains a very intimate story. With those wounds that never heal, the echo of the youth of these nations as they use hope to confront the swords of war. What makes this film even more unique is that it is the first of its kind in Congo (and probably in Africa), and it has been made by an African. It is a masterwork from the beginning of a new century. But, above all, between the post-colonial generation and the current generation. It is a sticking point where sensitivities are at their highest, and dreams and dashed hopes all become one for Africans.

When we were Kings

The legendary boxing match, filmed in a legendary country (Heart of Darkness), and all backed by a tragic thriller. This film is exceptional in every sense. It is rare to be capable of capturing a dictatorship so precisely, even if just for a moment. And Muhammad Ali, a living legend, reaches a new dimension. Despite everything that surrounds and is present in this film, it still reflects the reality of Congo.

I could also speak of Lumumba: Death of a Prophet by Raoul Peck.

HISTORICAL OVERVIEW

Since 1997 the Democratic Republic of the Congo (DROC; formerly called Zaire) has been racked by ethnic strife and civil war, touched off by a massive inflow in 1994 of refugees from the fighting in Rwanda and Burundi. The government of former president Mobutu Sese Seko was toppled by a rebellion led by Laurent Kabila in May 1997 and his regime was subsequently challenged by a Rwandan and Uganda-backed rebellion in August 1998. Troops from Zimbabwe, Angola, Namibia, Chad, and Sudan intervened to support the Kinshasa regime. A cease-fire was signed on 10 July 1999 by the DROC, Zimbabwe, Angola, Uganda, Namibia, Rwanda, and Congolese armed rebel groups RCD-G and MLC, but sporadic fighting continued. Kabila was assassinated on January 16, 2001 and his son Joseph Kabila was named head of state on January 26, 2001. Despite taking a radically different approach than his father, the new president has been equally unsuccessful in ending the war.

HISTORY OF CINEMA FROM 1896-2000

The Democratic Republic of Congo was formely known as Zaire and before that as Belgian Congo. In most aspects of social life, Colonialism had a major impact on the cinematic development. Patrice Lumumba the national leader during the years of independence (1960) referred in his independence speech to this impact by stating that the locals (blacks) were not allowed to view foreign films during the period of Belgian ruling at all. The official reason was that the locals could not distinguish between fact and fiction and therefore film could lead to mental problems. The government was afraid for subversive behavior as a result of watching Western made movies. However, irony had its funny way here, it was the colonial government who introduced production of filmmaking in Congo by establishing a priest-led film school.

In the 1940s the colonial government’s Film and Photo Bureau made educational and propaganda films specifically for the African population. In order to reduce costs the bureau employed African workers who were taught the basics of film production. In addition, Africans could acquire cinematic skills at the Congolese Center for Catholic Action Cinema (CCCAC) in Léopoldville (present-day Kinshasa) or Africa Films in Kivu, both of which were run by Catholic priests. The two companies’ films-such as the CCCAC’s series Les Palabres de Mboloko, starring an animated antelope aimed to teach African audiences religious virtues. Both companies offered Africans an opportunity to learn cinematic techniques, but, as in the other colonial experiments, the content and format of the films produced by these groups were severely restricted by the colonial administration.

In 1950, George Fannoy established Belgavox, a production company residing in Brussels that made documentaries and news items in Congo. Not until 1987 was the first Congolese movie produced: La Vie est Belle by Mwenze Ngangura. He is without doubt the most appreciated Congolese director who made his debut in 1973 with a short called Tamtam électronique, but a constant state of civil warfare has led to the total demise of any film industry in Congo. Some directors have been able to produce and direct films with foreign support. Most noteworthy is the French Ministry of foreign affairs financing several filmmakers from Congo (Zaire). Kibushi N’djate Wooto is one of those directors. He produced the animated short Crapaud chez ses beaux- parents in 1992. In 1996 Jose Laplaine’s produced a lively, comic drama, Macadam Tribe showing the constant quest for money, status and sex within the families of Africa’s urban neighborhoods. Josef Kumbela made his debut in 1994 with his short Perle Poire, followed by several other short films (35 mm). In 1991 Raoul Peck, a Haitian, who had spent most of his childhood in Zaire, directed the documentary Lumumba: la mort d’un prophète (1991), about the life of this remarkable statesman. Likewise a Belgian director, Thierry Michel made a documentary of some acclaim in 1999 about the life of Mobutu, the former Zaire dictator. Other names appeared in 2000 Munga Tunda Djo with Auguy (2000); and Balufu Bakupa Kanyinda with Article 15 bis (2000).

HISTORY OF THE CHANNEL

The only Zairian channel, dubbed OZRT (Zairian Office of Radio Broadcasts and Television), came into being in 1976. It held the monopoly of television until the democratic process started in April of 1990, and that gave way to the proliferation of private television channels, starting with Antenne A that was the first to break the OZRT’s monopoly in 1993. The law of media liberalization, approved by the Transitional Parliament on June 22, 1996, confirmed this state of affairs and allowed numerous commercial and private denominational channels to hatch throughout the country.

When Laurent-Désiré Kabila and the ADFL arrived to power in 1997, the country was renamed as was the television channel, it became RTNC (National Congolese Radio-Television) on May 17, then RTNC1 in March of 1999, and after that, a second public television was created, RTNC2.

To face the competition of the private channels, the authorities promptly reequipped the RTNC technically – nothing had been touched since its creation in 1976, thanks to a program that extended all over the country. They also signed an agreement with France for the professional formation of journalists and technicians, guaranteed by the ICA (Congolese Audiovisual Institute), a filial of RTNC.

RTNC1’s broadcasts in all the main towns in the country, interrupted for technical reasons at the beginning of 2004, resumed in November of that same year after the Italian corporation Teleconsult signed a backing agreement with RTNC.

The Media High Authority (HAM) extended preferential treatment towards RTNC1 as regards the presidential candidate Joseph Kabila during the presidential ballot, and suspended the channel’s coverage of that presidential campaign for 72 hours. The decision of the HAM was supported by Law 06/006 of March 9, 2006, as regards the organisation of presidential, legislative, provincial, urban, town and local elections that does not authorize anyone, be they a public authority, a promoter or a media sponsor, the right to abuse, in any form, by ignoring the principal of equality between all candidates.

RTNC1 is a public television channel owned 100% by National Congolese Radio-Television, a public corporation of radio broadcasts and television pertaining to the Congolese State.

PROGRAMMING 

As the sole public television with national coverage, RTNC1 broadcasts its programmes in the country’s five languages. However, its production capacity is limited, mostly due to the obsolescence of its production and broadcasting equipment.

Political information occupies a large space in its programming, particularly due to the current context of political transition, and the strong demand made by the population for these kind of broadcast-debates.

As RTNC is an associate of Canal France International, part of RTNC1’s programming proceeds from the CFI’s program bank.

It broadcasts all over the Congolese territory thanks to the installation of provincial relay stations in each of the country’s provinces:

• Katanga Province: RTNC Lubumbashi
• Western Kasaï Province: created in 1966
• Eastern Province: RTNC Kisangani created in 1975
• Eastern Kasaï Province: RTNC Mbuji-Mayi created in 1994
• Bas-Congo Province: created in 2002

• Gaza (Le) L’Excision 1979, Katuku Wa Yamba
• Personnages mystiques de Mukanda (Les) 1979, Katuku Wa Yamba
• Chéri Samba 1980, Mweze Dieudonné Ngangura
• Kin Kiesse 1982, Mweze Dieudonné Ngangura
• Dix mille ans de cinéma 1991, Balufu Bakupa-Kanyinda
• Thomas Sankara, l’espoir assassiné 1991, Balufu Bakupa Kanyinda
• Revue en vrac 1991, Monique Phoba Mbeka, Fred Mongu
• Tango ya ba Wendo (Wendo, père de la rumba za- ïroise) 1993, Mirko Popovitch, Roger Kwami Mambu Zinga
• Roi, la Vache et le Bananier (Le) 1994, Mweze Dieudonné Ngangura
• Walé Chantal, femme Ekonda 1996, Hélène Pagezy
• Général Tombeur (Le) 1997, Mweze Dieudonné Ngangura
• Un rêve d’indépendance 1998, Monique Phoba Mbeka
• Balangwa Nzembo (L’ivresse de la musique congo- laise) 1999, Balufu Bakupa-Kanyinda
• Bongo libre 1999, Balufu Bakupa-Kanyinda
• Colonisation, décolonisation, postcolonialisme 2001, Elikia M’Bokolo
• Au nom de mon père 2001, Mweze Dieudonné Ngangura
• Afro@digital 2002, Balufu Bakupa-Kanyinda
• Survie : les enfants des rues de Lubumbashi 2003, Patrick Kambala, Josue Mwamabha
• Injuste Faim 2004, Djo Munga
• Kinshasa, ville de mon enfance 2004, Adamo Kiangebeni
• Barua Lako 2004, Sperantia Sikuli, Sekombi Katondolo
• Mayasi, taximan à Kinshasa 2004, Guy Bomanyama-Zandu
• Mémoire du Congo en péril (La) 2005, Guy Bomanyama Zandu
• Goma, capitale du cinéma? 2005, Petna Ndaliko Katondolo
• Horizon en transition 2005, Djo Munga
• A Shadow of Hope 2005, Makela Pululu Luyeye, Makela Luyeye Pululu
• Congo, quel cinéma! (Le) 2005, Guy Bomanyama-Zandu
• Eau pure, eau pire 2006, Georges Kabongo
• La Francophonie en D.Congo 2006, Olivier Kifoyi
• Les deux orphélins (Kinshasa vie en deux temps) 2007, Olivier Kifoyi
• Mal nommer les .. (Faustin Linyekula) 2007, Benjamin Bibas
• Malachite, c’est ma vie 2007, Aurélien Mukangwa
• Marché de la mort (Le) 2007, Chouna Mangondo
• Entre la coupe et l’élection 2007, Monique Phoba Mbeka Guy Kabeya Muya
• J’ai besoin d’être en famille 2007, Astrid Mukangwa
• Fils de la vie et de la mort (Les) 2007, Clarisse Muvuba
• Découverte des chutes de Lubudi 2007, Isaac Gérard Bakajika
• Cailloux 2007, Guy Kabeya Muya
• Caravane pour le Sankuru 2007, Jean-Michel Kibushi
• Artiste de la poubelle (L’) 2007, Didier Lissa
• Avenir dure longtemps (L’) 2007, Eric Nyindu
• Nature, mon amour audacieux (La) 2007, Joa Shamukeke
• Vieillesse notre avenir 2007, Frank Mweze
• Voiture en Carton (Cardboard Car) 2008, Kiripi Katembo Siku
• Nous, enfants parents 2008, Chouna Mangondo
• Pêche artisanale (La) 2008, Mamadi Indoka
• Petite Maria 2008, Louis Vogt Voka
• Rallye d’Hélène (Le) 2008, Chouna Mangondo
• Paroles Blanches, Paroles Noires 2008, Benjamin Nsimba Munzambi
• Maraîchère de nuit (La) 2008, Michée Sunzu

DEMOCRATIC REPUBLIC OF CONGO

• M’Kataba 2008, Petna Ndaliko Katondolo
• Impasse congolaise : Dieu ou l’homme? (L’) 2008, Milau Lutumba
• Ecrivaine dans sa vie (L’) 2008, Clarisse Muvuba
• Ainsi dit la Keluka 2008, Georges Kabongo
• Bunkeya 2008, Carlos Ngombe
• Shégués, les enfants de la jungle urbaine 2008, Mweze Dieudonné Ngangura
• Shrinking Press 2009, Patrick Ken Kalala
• Mères-chefs 2009, Claudia Haïdara Yoka
• Papa Bouna 2009, Arsène Kamango
• Malgré moi 2009, Jules Koyagile Nzokoli
• Kusoma-Lire 2009, Didier Lissa
• Après Mine (L’) | After the Mine 2009, Kiripi Katembo Siku
• Dames en attente (Ladies in Waiting) 2009, Dieudo Hamadi, Divita Wa Lusala
• Symphony Kinshasa 2009, Kiripi Katembo Siku
• Tu n’as rien vu à Kinshasa 2009, Mweze Dieudonné Ngangura
• State of Mind 2010, Djo Munga
• Eau va à la rivière (L’) 2010, Adamo Kiangebeni
• Congo in Four Acts 2010, Dieudo Hamadi, Divita Wa Lusala, Patrick Ken Kalala, Kiripi Katembo Siku
• Bushi, l’épopée de la résistance 2012, Sylvain Mitima
• Moseka 1971, Roger Kwami Mambu Zinga
• Chapelle (La) 1979, Jean-Michel Tchissoukou
• Vie est belle (La) 1987, Mweze Dieudonné Ngangura, Benoît Lamy
• Taxcarte 1996, Joseph Kumbela
• Macadam Tribu 1996, Zeka Laplaine
• Clandestin (Le) 1996, Zeka Laplaine
• Colis postal 1996, Joseph Kumbela
• Damier (Le) 1996, Balufu Bakupa-Kanyinda
• Etranger venu d’Afrique (L’) 1998, Feizhou Laowai, Joseph Kumbela
• Auguy 1998, Djo Tunda wa Munga
• Pièces d’identité 1998, Mweze Dieudonné Ngangura
• Watt 1999, Balufu Bakupa-Kanyinda
• Article 15 bis 2000, Balufu Bakupa-Kanyinda
• (Paris : xy) 2001, Zeka Laplaine
• Habits neufs du gouverneur (Les) 2004, Mweze Dieudonné Ngangura
• Ha! 2005, Petna Ndaliko Katondolo
• Juju Factory 2005, Balufu Bakupa-Kanyinda
• Une nuit d’enfer 2005, Mamadi Indoka
• Vertu (La) 2005, Guy Bomanyama-Zandu
• Beauté de la mort (La) 2006, Mamadi Indoka
• Kinshasa Palace 2006, Zeka Laplaine
• 32 ans après 2007, Mamadi Indoka
• Kinshasa vie en deux temps 2007, Olivier Kifoyi
• Marc 2007, Béatrice Badibanga
• Papy (mon histoire) 2007, Djo Tunda wa Munga
• Kinois (Le) 2008, Michel Kamuanga
• Lula 2008, Ladi Bidinga Mpoyi
• Kata m’domo 2009, Claude Mukendi
• Sors-le 2009, Arnaud Tshilumba, Rudy Kafutshi
• Quelle Ironie 2009, Nolda Massamba
• Nous aussi avons marché sur la lune 2009, Balufu Bakupa-Kanyinda
• Héritage envahi (L’) 2010, Mamadi Indoka
• Sida (Le) 2010, Mamadi Indoka
• Viva Riva 2010, Djo Tunda wa Munga
• Condamné 2012, Nganji