Instagram Hikaye Kaydet

#Repost @a.f.m.a.c
・・・
A first for the continent. A film about African women, made by African women made history as the first African film to win the Camera D’Or at this year’s Cannes Film Festival.

Directed by Marie-Clémentine Dusabejambo, the film begins in the aftermath of the genocide against the Tutsis in Rwandan as a group of women engage in the intimate, difficult work of community reconciliation. But its historic weight extends beyond the story on screen.

BEN’IMANA was made by a 100% African production crew, 90% Rwandan, and led through an African-majority owned production structure that allowed Rwanda and Gabon to retain a majority stake in the film’s ownership. A rare feat for African cinema on the Cannes stage.

This film’s success is a signal of what becomes possible when African stories are shaped, protected, and carried by the people closest to them.

As Sandrine Umutoni, Rwanda’s Minister of Youth and Arts, said at the after-party for the film: “African cinema is alive. And BEN’IMANA reminds us that it is also brimming with memory, sensitivity, beauty, and worlds still waiting to be seen.”

Slide 8 Credit: @rwfilmoffice
@fannyx02 @sambiffot@xandrineumutoni

#panafricancinema #jointhejourney

#Repost @a.f.m.a.c
・・・
A first for the continent. A film about African women, made by African women made history as the first African film to win the Camera D’Or at this year’s Cannes Film Festival.

Directed by Marie-Clémentine Dusabejambo, the film begins in the aftermath of the genocide against the Tutsis in Rwandan as a group of women engage in the intimate, difficult work of community reconciliation. But its historic weight extends beyond the story on screen.

BEN’IMANA was made by a 100% African production crew, 90% Rwandan, and led through an African-majority owned production structure that allowed Rwanda and Gabon to retain a majority stake in the film’s ownership. A rare feat for African cinema on the Cannes stage.

This film’s success is a signal of what becomes possible when African stories are shaped, protected, and carried by the people closest to them.

As Sandrine Umutoni, Rwanda’s Minister of Youth and Arts, said at the after-party for the film: “African cinema is alive. And BEN’IMANA reminds us that it is also brimming with memory, sensitivity, beauty, and worlds still waiting to be seen.”

Slide 8 Credit: @rwfilmoffice
@fannyx02 @sambiffot@xandrineumutoni

#panafricancinema #jointhejourney

#Repost @a.f.m.a.c
・・・
A first for the continent. A film about African women, made by African women made history as the first African film to win the Camera D’Or at this year’s Cannes Film Festival.

Directed by Marie-Clémentine Dusabejambo, the film begins in the aftermath of the genocide against the Tutsis in Rwandan as a group of women engage in the intimate, difficult work of community reconciliation. But its historic weight extends beyond the story on screen.

BEN’IMANA was made by a 100% African production crew, 90% Rwandan, and led through an African-majority owned production structure that allowed Rwanda and Gabon to retain a majority stake in the film’s ownership. A rare feat for African cinema on the Cannes stage.

This film’s success is a signal of what becomes possible when African stories are shaped, protected, and carried by the people closest to them.

As Sandrine Umutoni, Rwanda’s Minister of Youth and Arts, said at the after-party for the film: “African cinema is alive. And BEN’IMANA reminds us that it is also brimming with memory, sensitivity, beauty, and worlds still waiting to be seen.”

Slide 8 Credit: @rwfilmoffice
@fannyx02 @sambiffot@xandrineumutoni

#panafricancinema #jointhejourney

#Repost @a.f.m.a.c
・・・
A first for the continent. A film about African women, made by African women made history as the first African film to win the Camera D’Or at this year’s Cannes Film Festival.

Directed by Marie-Clémentine Dusabejambo, the film begins in the aftermath of the genocide against the Tutsis in Rwandan as a group of women engage in the intimate, difficult work of community reconciliation. But its historic weight extends beyond the story on screen.

BEN’IMANA was made by a 100% African production crew, 90% Rwandan, and led through an African-majority owned production structure that allowed Rwanda and Gabon to retain a majority stake in the film’s ownership. A rare feat for African cinema on the Cannes stage.

This film’s success is a signal of what becomes possible when African stories are shaped, protected, and carried by the people closest to them.

As Sandrine Umutoni, Rwanda’s Minister of Youth and Arts, said at the after-party for the film: “African cinema is alive. And BEN’IMANA reminds us that it is also brimming with memory, sensitivity, beauty, and worlds still waiting to be seen.”

Slide 8 Credit: @rwfilmoffice
@fannyx02 @sambiffot@xandrineumutoni

#panafricancinema #jointhejourney

#Repost @a.f.m.a.c
・・・
A first for the continent. A film about African women, made by African women made history as the first African film to win the Camera D’Or at this year’s Cannes Film Festival.

Directed by Marie-Clémentine Dusabejambo, the film begins in the aftermath of the genocide against the Tutsis in Rwandan as a group of women engage in the intimate, difficult work of community reconciliation. But its historic weight extends beyond the story on screen.

BEN’IMANA was made by a 100% African production crew, 90% Rwandan, and led through an African-majority owned production structure that allowed Rwanda and Gabon to retain a majority stake in the film’s ownership. A rare feat for African cinema on the Cannes stage.

This film’s success is a signal of what becomes possible when African stories are shaped, protected, and carried by the people closest to them.

As Sandrine Umutoni, Rwanda’s Minister of Youth and Arts, said at the after-party for the film: “African cinema is alive. And BEN’IMANA reminds us that it is also brimming with memory, sensitivity, beauty, and worlds still waiting to be seen.”

Slide 8 Credit: @rwfilmoffice
@fannyx02 @sambiffot@xandrineumutoni

#panafricancinema #jointhejourney

#Repost @a.f.m.a.c
・・・
A first for the continent. A film about African women, made by African women made history as the first African film to win the Camera D’Or at this year’s Cannes Film Festival.

Directed by Marie-Clémentine Dusabejambo, the film begins in the aftermath of the genocide against the Tutsis in Rwandan as a group of women engage in the intimate, difficult work of community reconciliation. But its historic weight extends beyond the story on screen.

BEN’IMANA was made by a 100% African production crew, 90% Rwandan, and led through an African-majority owned production structure that allowed Rwanda and Gabon to retain a majority stake in the film’s ownership. A rare feat for African cinema on the Cannes stage.

This film’s success is a signal of what becomes possible when African stories are shaped, protected, and carried by the people closest to them.

As Sandrine Umutoni, Rwanda’s Minister of Youth and Arts, said at the after-party for the film: “African cinema is alive. And BEN’IMANA reminds us that it is also brimming with memory, sensitivity, beauty, and worlds still waiting to be seen.”

Slide 8 Credit: @rwfilmoffice
@fannyx02 @sambiffot@xandrineumutoni

#panafricancinema #jointhejourney

#Repost @a.f.m.a.c
・・・
A first for the continent. A film about African women, made by African women made history as the first African film to win the Camera D’Or at this year’s Cannes Film Festival.

Directed by Marie-Clémentine Dusabejambo, the film begins in the aftermath of the genocide against the Tutsis in Rwandan as a group of women engage in the intimate, difficult work of community reconciliation. But its historic weight extends beyond the story on screen.

BEN’IMANA was made by a 100% African production crew, 90% Rwandan, and led through an African-majority owned production structure that allowed Rwanda and Gabon to retain a majority stake in the film’s ownership. A rare feat for African cinema on the Cannes stage.

This film’s success is a signal of what becomes possible when African stories are shaped, protected, and carried by the people closest to them.

As Sandrine Umutoni, Rwanda’s Minister of Youth and Arts, said at the after-party for the film: “African cinema is alive. And BEN’IMANA reminds us that it is also brimming with memory, sensitivity, beauty, and worlds still waiting to be seen.”

Slide 8 Credit: @rwfilmoffice
@fannyx02 @sambiffot@xandrineumutoni

#panafricancinema #jointhejourney

#Repost @a.f.m.a.c
・・・
A first for the continent. A film about African women, made by African women made history as the first African film to win the Camera D’Or at this year’s Cannes Film Festival.

Directed by Marie-Clémentine Dusabejambo, the film begins in the aftermath of the genocide against the Tutsis in Rwandan as a group of women engage in the intimate, difficult work of community reconciliation. But its historic weight extends beyond the story on screen.

BEN’IMANA was made by a 100% African production crew, 90% Rwandan, and led through an African-majority owned production structure that allowed Rwanda and Gabon to retain a majority stake in the film’s ownership. A rare feat for African cinema on the Cannes stage.

This film’s success is a signal of what becomes possible when African stories are shaped, protected, and carried by the people closest to them.

As Sandrine Umutoni, Rwanda’s Minister of Youth and Arts, said at the after-party for the film: “African cinema is alive. And BEN’IMANA reminds us that it is also brimming with memory, sensitivity, beauty, and worlds still waiting to be seen.”

Slide 8 Credit: @rwfilmoffice
@fannyx02 @sambiffot@xandrineumutoni

#panafricancinema #jointhejourney

Découvrez en avant-première BEN’IMANA, le film qui a bouleversé la 79e édition du @festivaldecannes et qui a remporté la Caméra d’or.

Réalisé par Marie-Clémentine Dusabejambo avec Clémentine U. Nyrinkindu, Isabelle Kabano, Kesia Kelly Nishimwe.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

I'm just coming back down to earth. Barely.

Saturday night, something happened in Cannes I still can't fully put into words. An immense, deep, overflowing gratitude.

First, the @fipresci Prize — a first honour from the international film critics. Then the Caméra d'Or, the first in the history of African cinema. My first film as a producer. Marie Clémentine's first film. So many “firsts” that make your head spin.

Ten years of a journey. Bouncing back, pushing on doors, nights spent choosing to believe again. And we didn’t walk this road alone.

Labs and funds — there from the very start, offering extraordinary encounters and, often, oxygen. Thank you.

To every actress, actor, and crew member who gave everything — during prep, the shoot, post-production, in front of the camera and behind. This prize is yours too.

To @avidia_postprod — unwavering support throughout post-production, with rare and genuine kindness. Thank you.

To loyal friends who stood by us relentlessly, often without anyone knowing. Thank you.

I think of this four-country co-production, its Rwanda–Gabon majority structure, led by its co delegate-producers: @fannyx02 for Ejo Ciné (Rwanda) and myself and @pierrececc for Ogweli (Gabon), in coproduction with Eugénie Michel Villette for @lesfilmsdubilboquet (France), @ingridlillhogtun, @marie_fuglestein_laegreid and @lindaduo for @DUOfilm (Norway) and @canal+international. Built with intelligence and balance — proof that we can work together while keeping African leadership where it belongs. It is possible.

To @advitamdistribution and @mk2 — you believed from the very first moment. This first Cannes experience by your side is beyond words.

And above all, @dusabejambo — you carried Ben’imana long before I joined you. You still carry it, whole.

We did it. All of us, together. That’s the beauty of cinema.

Thank you Cannes. What a gift, to begin here.

Congrats to Marie-Clementine Dusabejambo’s “Ben’Imana” for winning the Caméra d’Or at the 2026 #Cannes Film Festival!

The Caméra d’Or is an award for the best first feature film presented in one of the Cannes selections (Official Selection, Directors’ Fortnight or Critics’ Week).

The #RedSeaFilmFoundation is proud to have supported this film through the #RedSeaFund and the #RedSeaSouk!

يسعدنا أن نبارك لفيلم “بنيمانا” للمخرجة ماري-كليمنتين دوسابجامبو على فوزه بجائزة الكاميرا الذهبية في مهرجان #كان السينمائي!

جائزة الكاميرا الذهبية هي جائزة تُمنح لأفضل فيلم روائي طويل أول يُعرض في إحدى فئات مهرجان كان (الاختيار الرسمي، أسبوع المخرجين، أو أسبوع النقاد).

تفخر مؤسسة البحر الأحمر السينمائي بدورها في دعم هذا الفيلم من خلال صندوق البحر الأحمر وسوق البحر الأحمر.

Congrats to Marie-Clementine Dusabejambo’s “Ben’Imana” for winning the Caméra d’Or at the 2026 #Cannes Film Festival!

The Caméra d’Or is an award for the best first feature film presented in one of the Cannes selections (Official Selection, Directors’ Fortnight or Critics’ Week).

The #RedSeaFilmFoundation is proud to have supported this film through the #RedSeaFund and the #RedSeaSouk!

يسعدنا أن نبارك لفيلم “بنيمانا” للمخرجة ماري-كليمنتين دوسابجامبو على فوزه بجائزة الكاميرا الذهبية في مهرجان #كان السينمائي!

جائزة الكاميرا الذهبية هي جائزة تُمنح لأفضل فيلم روائي طويل أول يُعرض في إحدى فئات مهرجان كان (الاختيار الرسمي، أسبوع المخرجين، أو أسبوع النقاد).

تفخر مؤسسة البحر الأحمر السينمائي بدورها في دعم هذا الفيلم من خلال صندوق البحر الأحمر وسوق البحر الأحمر.

Joie et fierté pour BEN’IMANA qui remporte la Caméra d’or ainsi que le Prix FIPRESCI | Un Certain Regard !

Pour son premier film, la réalisatrice rwandaise Marie-Clémentine Dusabejambo place son intrigue dix huit ans après le genocide, et trace un chemin vers la réconciliation en racontant le destin de trois femmes d’une même famille.

A découvrir prochainement au cinéma.

FIPRESCI award for Ben’imana !

The FIPRESCI Prize goes to BEN'IMANA.

Congratulations to Marie-Clémentine Dusabejambo and the entire team. 👏🏼

⁠#Benimana #UnCertainRegard #CannesFilmFestival #Cannes2026.Photo: Manuel Braun, Alexandre Wallon

@kabano_isabelle : Il y a le Rwanda meutrie, qui a souffert mais il y a aussi le Rwanda qui va vivre et briller
@dusabejambo : Chaque génération a ses propres combats et doit les mener avec dignité et honneur
Merci, Mesdames!
#cannes2026

Ben’Imana.

Ben’Imana, un film, mais pas que, qui nous emmène sur le chemin de la réflexion de comment on se reconstruit après un génocide.

Comment apprend-on à revivre après avoir échappé à la mort, pendant ces 100 jours, qui en fin de compte étaient vécu, pour certains, comme une journée interminable, qui ne prit fin qu’avec l’arrivée des Inkotanyi et ces mots fatidiques ‘ntugipfuye’.

Ben’Imana, c’est aussi la place de la parole et son usage comme arme de rédemption, et de passerelle entre le passé et le présent, pour bâtir un avenir meilleur pour ceux à qui nous lèguerons ce Rwanda.

Ben’Imana, c’est enfin cet enfant *Kibeho Abe*, porteur d’espoir.

L’espoir de survie de toute une nation, pour qu’à leur tour, ses enfants vivent.

Merci @dusabejambo et @sambiffot de vous être battu pour que ce film soit.

Merci d’avoir préservé la voix de nos mères, qui portent en elles, jour après jour, les blessures du passé mais aussi la promesse d’un renouveau.

Ben’Imana.

Ben’Imana, un film, mais pas que, qui nous emmène sur le chemin de la réflexion de comment on se reconstruit après un génocide.

Comment apprend-on à revivre après avoir échappé à la mort, pendant ces 100 jours, qui en fin de compte étaient vécu, pour certains, comme une journée interminable, qui ne prit fin qu’avec l’arrivée des Inkotanyi et ces mots fatidiques ‘ntugipfuye’.

Ben’Imana, c’est aussi la place de la parole et son usage comme arme de rédemption, et de passerelle entre le passé et le présent, pour bâtir un avenir meilleur pour ceux à qui nous lèguerons ce Rwanda.

Ben’Imana, c’est enfin cet enfant *Kibeho Abe*, porteur d’espoir.

L’espoir de survie de toute une nation, pour qu’à leur tour, ses enfants vivent.

Merci @dusabejambo et @sambiffot de vous être battu pour que ce film soit.

Merci d’avoir préservé la voix de nos mères, qui portent en elles, jour après jour, les blessures du passé mais aussi la promesse d’un renouveau.

Ben’Imana.

Ben’Imana, un film, mais pas que, qui nous emmène sur le chemin de la réflexion de comment on se reconstruit après un génocide.

Comment apprend-on à revivre après avoir échappé à la mort, pendant ces 100 jours, qui en fin de compte étaient vécu, pour certains, comme une journée interminable, qui ne prit fin qu’avec l’arrivée des Inkotanyi et ces mots fatidiques ‘ntugipfuye’.

Ben’Imana, c’est aussi la place de la parole et son usage comme arme de rédemption, et de passerelle entre le passé et le présent, pour bâtir un avenir meilleur pour ceux à qui nous lèguerons ce Rwanda.

Ben’Imana, c’est enfin cet enfant *Kibeho Abe*, porteur d’espoir.

L’espoir de survie de toute une nation, pour qu’à leur tour, ses enfants vivent.

Merci @dusabejambo et @sambiffot de vous être battu pour que ce film soit.

Merci d’avoir préservé la voix de nos mères, qui portent en elles, jour après jour, les blessures du passé mais aussi la promesse d’un renouveau.

Ben’Imana.

Ben’Imana, un film, mais pas que, qui nous emmène sur le chemin de la réflexion de comment on se reconstruit après un génocide.

Comment apprend-on à revivre après avoir échappé à la mort, pendant ces 100 jours, qui en fin de compte étaient vécu, pour certains, comme une journée interminable, qui ne prit fin qu’avec l’arrivée des Inkotanyi et ces mots fatidiques ‘ntugipfuye’.

Ben’Imana, c’est aussi la place de la parole et son usage comme arme de rédemption, et de passerelle entre le passé et le présent, pour bâtir un avenir meilleur pour ceux à qui nous lèguerons ce Rwanda.

Ben’Imana, c’est enfin cet enfant *Kibeho Abe*, porteur d’espoir.

L’espoir de survie de toute une nation, pour qu’à leur tour, ses enfants vivent.

Merci @dusabejambo et @sambiffot de vous être battu pour que ce film soit.

Merci d’avoir préservé la voix de nos mères, qui portent en elles, jour après jour, les blessures du passé mais aussi la promesse d’un renouveau.

Ben’Imana.

Ben’Imana, un film, mais pas que, qui nous emmène sur le chemin de la réflexion de comment on se reconstruit après un génocide.

Comment apprend-on à revivre après avoir échappé à la mort, pendant ces 100 jours, qui en fin de compte étaient vécu, pour certains, comme une journée interminable, qui ne prit fin qu’avec l’arrivée des Inkotanyi et ces mots fatidiques ‘ntugipfuye’.

Ben’Imana, c’est aussi la place de la parole et son usage comme arme de rédemption, et de passerelle entre le passé et le présent, pour bâtir un avenir meilleur pour ceux à qui nous lèguerons ce Rwanda.

Ben’Imana, c’est enfin cet enfant *Kibeho Abe*, porteur d’espoir.

L’espoir de survie de toute une nation, pour qu’à leur tour, ses enfants vivent.

Merci @dusabejambo et @sambiffot de vous être battu pour que ce film soit.

Merci d’avoir préservé la voix de nos mères, qui portent en elles, jour après jour, les blessures du passé mais aussi la promesse d’un renouveau.

Ben’Imana.

Ben’Imana, un film, mais pas que, qui nous emmène sur le chemin de la réflexion de comment on se reconstruit après un génocide.

Comment apprend-on à revivre après avoir échappé à la mort, pendant ces 100 jours, qui en fin de compte étaient vécu, pour certains, comme une journée interminable, qui ne prit fin qu’avec l’arrivée des Inkotanyi et ces mots fatidiques ‘ntugipfuye’.

Ben’Imana, c’est aussi la place de la parole et son usage comme arme de rédemption, et de passerelle entre le passé et le présent, pour bâtir un avenir meilleur pour ceux à qui nous lèguerons ce Rwanda.

Ben’Imana, c’est enfin cet enfant *Kibeho Abe*, porteur d’espoir.

L’espoir de survie de toute une nation, pour qu’à leur tour, ses enfants vivent.

Merci @dusabejambo et @sambiffot de vous être battu pour que ce film soit.

Merci d’avoir préservé la voix de nos mères, qui portent en elles, jour après jour, les blessures du passé mais aussi la promesse d’un renouveau.

Ben’Imana.

Ben’Imana, un film, mais pas que, qui nous emmène sur le chemin de la réflexion de comment on se reconstruit après un génocide.

Comment apprend-on à revivre après avoir échappé à la mort, pendant ces 100 jours, qui en fin de compte étaient vécu, pour certains, comme une journée interminable, qui ne prit fin qu’avec l’arrivée des Inkotanyi et ces mots fatidiques ‘ntugipfuye’.

Ben’Imana, c’est aussi la place de la parole et son usage comme arme de rédemption, et de passerelle entre le passé et le présent, pour bâtir un avenir meilleur pour ceux à qui nous lèguerons ce Rwanda.

Ben’Imana, c’est enfin cet enfant *Kibeho Abe*, porteur d’espoir.

L’espoir de survie de toute une nation, pour qu’à leur tour, ses enfants vivent.

Merci @dusabejambo et @sambiffot de vous être battu pour que ce film soit.

Merci d’avoir préservé la voix de nos mères, qui portent en elles, jour après jour, les blessures du passé mais aussi la promesse d’un renouveau.

Rwandan filmmaker Marie-Clémentine Dusabejambo discusses her debut feature BEN’IMANA, a Red Sea Souk and Red Sea Fund-supported film that premiered at the 2026 Cannes Film Festival as part of Un Certain Regard.

In the interview, Dusabejambo reflects on bringing Rwanda’s stories to the international stage, the journey of shaping her first feature, and the support that helped carry BEN’IMANA from development to Cannes.

تتحدث المخرجة الرواندية ماري-كليمنتين دوسابيجامبو عن فيلمها الروائي الأول “بنيمانا”، المدعوم من سوق البحر الأحمر وصندوق البحر الأحمر، والذي شهد عرضه العالمي الأول ضمن قسم “نظرة ما” في مهرجان كان السينمائي 2026.

في هذا اللقاء، تتناول دوسابيجامبو رحلتها في تقديم حكاية من رواندا إلى الشاشة الدولية، ومسار إنجاز أول أفلامها الطويلة، والدعم الذي رافق “بنيمانا” من مراحل التطوير وصولاً إلى كان.

#مؤسسة_البحر_الأحمر_السينمائي #صندوق_البحر_الأحمر #سوق_البحر_الأحمر #مهرجان_كان