{"id":143989,"date":"2026-11-10T11:02:49","date_gmt":"2026-11-10T11:02:49","guid":{"rendered":"https:\/\/afromagazine.eu\/?p=143989"},"modified":"2026-11-10T11:02:51","modified_gmt":"2026-11-10T11:02:51","slug":"world-premiere-for-mangabangabaka-at-idfa-2026","status":"publish","type":"post","link":"https:\/\/afromagazine.eu\/en\/world-premiere-for-mangabangabaka-at-idfa-2026\/","title":{"rendered":"World premiere for Mangabangabaka at IDFA 2026"},"content":{"rendered":"

This November, IDFA will host the world premiere of<\/strong> Mangabangabaka<\/em><\/strong>, a documentary from Malagasy filmmaker Micha\u00ebl Andrianaly, known for his award winning work in socially charged cinema. Competing in the festival\u2019s International Competition, the film offers a deep dive into Madagascar\u2019s nightlife, asking who gets to reinvent themselves when raw survival must always come first. <\/strong><\/h2>\n\n\n\n

Through personal diary entries and an intimate portrait of Sonia, a sex worker who seeks a fresh start after 30 years on the streets, Andrianaly captures a life caught between the desire for change and the pull of the night. <\/strong><\/p>\n\n\n\n

Blending hidden mechanisms of violence with the warmth of intimate relationships, the film exposes a society where sex work is everywhere, yet deeply taboo<\/strong>. The presence of Sonia and her peers at the heart of daily life disrupts a social balance that is, in fact, built precisely around women. While women are celebrated as central to the country’s identity, sex workers are pushed into silence, in order to preserve this idealised image of womanhood. Despite mounting debts and the fear of falling apart, Sonia refuses to give up on changing her place in society and reclaiming her sense of self-worth. Can the void of mangabangabaka<\/em>, a word meaning complete emptiness, finally be filled with the possibility of a life entirely her own?<\/p>\n\n\n\n

The documentary is a coproduction between Les Films de la Pluie, Imasoa Film, Ana Films and Pilumpiku Production<\/strong>. It will have its world premiere in IDFA\u2019s International Competition on November 18<\/strong>, followed by five additional screenings throughout the festival.<\/p>\n\n\n\n

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ABOUT THE FILM<\/strong><\/p>\n\n\n\n

LOGLINE<\/strong><\/p>\n\n\n\n

After thirty years in sex work, Sonia decides to turn her life around. Yet the night keeps calling her back, as she struggles to break free from the hardships of a fractured society, where life, family and one\u2019s identity are shaped by the necessity of survival.<\/p>\n\n\n\n

SHORT SYNOPSIS<\/strong><\/p>\n\n\n\n

Having worked as a sex worker in Toamasina, Madagascar, since the age of 16, Sonia has learned to navigate life under the weight of necessity. Her body is treated as her only asset; the night, her only horizon. As she grows older, fatigue and fear set in, and Sonia decides to leave sex work behind and become a seamstress. The first orders start coming in, but her financial needs become increasingly pressing, and her debts continue to pile up. Torn between the desire for a fresh start and the fear of falling apart, Sonia\u2019s journey is shaped by the struggle to survive and show her children that a different life is possible, alongside a deeply personal search for who she is beyond the identity society has imposed on her \u2013 one forged on the streets, under the gaze of men and through the trade of her body. Changing her social role \u2013 but, above all, her perception of herself \u2013 is a daunting challenge.<\/p>\n\n\n\n

DIRECTOR STATEMENT:<\/strong><\/p>\n\n\n\n

\u201cI\u2019ve been making documentary films in Toamasina, Madagascar, for a decade. I\u2019m drawn to stories of people who stand their ground in the face of life\u2019s hardships, the government, and politics. Those who, despite everything, hold on. My filmmaking has become my way of activism, and portraying these people has become a political act. The protagonists I film denounce, in their own way, what\u2019s wrong in Madagascar: expropriation, corruption, the exploitation of one person by another, poverty, inequality, and more. In Malagasy, the word for \u201ccountry\u201d is \u201cfirenena,\u201d which is derived from the term \u201creny,\u201d meaning \u201cmother.\u201d For us, the structure of the country is inseparable from the structure of the family and the foundational role of the mother within her own family. <\/p>\n\n\n\n

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\u201cSonia\u2019s story speaks of the mechanisms of violence\u201d<\/em><\/strong><\/p>\n\n\n\n

However, for me, the country\u2019s crisis is inextricably linked to the crisis of the family model, which suffers first and foremost from the economic crisis, a lack of education, and a lack of culture. My encounter with Sonia, outside a nightclub in downtown Tamatave \u2013 the Queen\u2019s Club \u2013 was a turning point. Her story is that of a woman who was pushed into prostitution at the age of 16 out of financial necessity, in a country where you can become a prostitute at the very moment you become a woman. I felt there was a film to be made. A film that would tell her story \u2013 that of a woman fighting for her own survival and that of her children. Sonia has all the makings of a heroine, with her strengths and weaknesses. She has overcome many fears and is now ready to open up and share her story, which speaks volumes about the mechanisms of violence in Malagasy society. Beyond her story of prostitution, I wanted to portray a woman fighting to rebuild her family\u2019s independence and raise her children so that they, too, do not fall into the traps of society\u201d, Micha\u00ebl Andrianaly.<\/p>\n\n\n\n

SCREENINGS SCHEDULE AT IDFA 2026<\/strong><\/p>\n\n\n\n

Wed, November 18<\/strong>
09:15\u2009\u2013\u200910:51
Path\u00e9 City 5
*Press and industry screenings<\/td>		Wed, November 18<\/strong>
20:30\u2009\u2013\u200922:19
Tuschinski 4

<\/td>		Thu, November 19<\/strong>
11:45\u2009\u2013\u200913:39
Tuschinski 2<\/td>		Fri, November 20<\/strong>
16:45\u2009\u2013\u200918:39
Het Documentaire Paviljoen: De Spiegel<\/td>		Sat, November 21<\/strong>
19:45\u2009\u2013\u200921:39
Cinema De Vlugt – Theaterzaal<\/td>		Sun, November 22<\/strong>
14:15\u2009\u2013\u200915:52
Tuschinski 5<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

BIOGRAPHY AND ADDITIONAL INFORMATION<\/strong><\/p>\n\n\n\n

Micha\u00ebl Andrianaly, director<\/strong><\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

Micha\u00ebl Andrianaly was born in July 1978. He is a director, cinematographer, and photographer. He lives in Toamasina, on the east coast of Madagascar. After making his first short documentary, Todisoa and the black stones, as part of a workshop in 2013, he directed two films that were selected for numerous international festivals: Njaka Kely (2015) and Nofinofy (2019), which won two awards at Cin\u00e9ma du R\u00e9el and the \u00c9toile de la Scam. Gwetto, his fourth documentary film, was selected for Visions du R\u00e9el in April 2023 and later streamed on the T\u00ebnk and TV5 Mondeplus platforms. In 2024, Micha\u00ebl Andrianaly received the True Vision Award for his body of work at the True\/False Film Fest in Columbia. Both Nofinofy and his new feature-length documentary, Mangabangabaka, were recipients of the Scam\u2019s \u201cBrouillon d\u2019un r\u00eave\u201d grant. Through a style of social cinema that is close to his heart, Micha\u00ebl Andrianaly explores the daily concerns of the Malagasy people and seeks to depict, through his films, the upheavals and major issues facing his island.<\/p>\n\n\n\n

Filmography<\/strong>
<\/strong> <\/p>\n\n\n\n

    \n
  • 2013: TODISOA AND THE BLACK STONES: After losing his land to a mining project, Todisoa struggles to provide for his family by selling charcoal, in a portrait of displacement and the human cost of economic exploitation.<\/li>\n\n\n\n
  • 2015: NJAKA KELY: The film follows 17-year-old Njaka as he searches for his place within the makeshift family formed by a woman who runs a pedicab business and cares for her drivers as her own children.<\/li>\n\n\n\n
  • 2019: NOFINOFY: After the municipality demolishes his barbershop, Romeo moves his business to a makeshift shack while holding on to his dream of opening a proper salon<\/li>\n\n\n\n
  • 2023: GWETTO: The film follows four young men from different parts of Madagascar who work at a car wash in Toamasina, facing exploitation and discrimination as they search for a better future.<\/li>\n<\/ul>\n\n\n\n

    Sylvie Plunian, producer, Les Films de la pluie<\/strong><\/p>\n\n\n\n

    After studying film in Rennes and earning a master\u2019s degree in documentary production in Strasbourg, Sylvie Plunian spent eight years working in Lussas, in the South of France. In 2014, she returned to Brittany and founded Les Films de la pluie in Finist\u00e8re, supporting filmmakers on long-term projects, with a focus on interregional and international co-productions and first films. Over the past 12 years, she has produced around 20 documentaries, several of which have enjoyed successful international runs, won festival awards and received two \u00c9toiles de la Scam. These include In the Stillness of Sounds and Suzanne from Day to Day by Serge Steyer and St\u00e9phane Manchematin, A Land of Paper by Marion Bo\u00e9, Draw Me a Feminist by Tanguy and Galane Alanou, and Nofinofy by Micha\u00ebl Andrianaly. Her work focuses on portraits offering unique perspectives on the world, as well as personal films exploring identity, family ties, gender and origins. In November 2026, Micha\u00ebl Andrianaly\u2019s Mangabangabaka will premiere in IDFA\u2019s International Competition, marking over a decade of collaboration between the director and producer.<\/p>\n\n\n\n

    Milana Christitch, producer, Ana Films<\/strong><\/p>\n\n\n\n

    Milana Christitch has been producing documentaries at ANA FILMS since 2009. Founded in 1993 and based in Strasbourg, ANA FILMS develops and produces creative documentaries for television and cinema, focusing on international co-productions and auteur-driven projects. Milana has produced over 60 documentaries, collaborating with European broadcasters including ARTE La Lucarne, France T\u00e9l\u00e9visions, Yle and Cin\u00e9+, with films presented at major international festivals. Recent productions include 11 Underground by Chico Pereira, awarded Best Documentary at DocPoint Helsinki 2025 and Best Documentary Director at Alcances; Suzanne from Day to Day by St\u00e9phane Manchematin and Serge Steyer, selected for DOK Leipzig and awarded the Hors Fronti\u00e8res Jury Prize at Traces de Vie; and Ultraviolette and the Blood-Spitting Gang by Robin Hunzinger and Claudie Hunzinger, which premiered in IDFA\u2019s Luminous section and screened at numerous international festivals. Before joining ANA FILMS, Milana worked as an editor and network coordinator at Apollonia, European Artistic Exchanges (2002\u20132008), contributing to international visual arts projects supported by the European Commission\u2019s Culture 2000 programme.<\/p>\n\n\n\n

    KEY CREDITS:<\/strong><\/p>\n\n\n\n

      \n
    • WRITTEN AND DIRECTED BY: Micha\u00ebl Andrianaly
      COPRODUCTION: Les Films de la Pluie, Imasoa Film, Ana Films and Pilumpiku Production<\/li>\n\n\n\n
    • IMAGE: Micha\u00ebl Andrianaly<\/li>\n\n\n\n
    • SOUND: Wilfried Andrianjara<\/li>\n\n\n\n
    • IMAGE EDITING & COLOR GRADING: Denis Le Paven<\/li>\n\n\n\n
    • SOUND EDITING & SOUND MIX: Pablo Sala\u00fcn<\/li>\n\n\n\n
    • SCRIPT DOCTOR: Justine Bonno<\/li>\n\n\n\n
    • ARTISTIC COLLABORATOR: C\u00e9line Dr\u00e9an<\/li>\n\n\n\n
    • ORIGINAL MUSIC: Leba saxophone<\/li>\n\n\n\n
    • PRODUCERS: Sylvie Plunian (Les Films de la Pluie), Micha\u00ebl Andrianaly (Imasoa Film), Milana Christitch (Ana Films), Mamounata Niki\u00e8ma (Pilumpiku Production)<\/li>\n\n\n\n
    • PRODUCTION ASSISTANTS: Audrey Euzen (Les Films de la Pluie), Manya Halas, Caroline Moreau (Ana Films)<\/li>\n<\/ul>\n\n\n\n

      FILM DATA:<\/strong><\/p>\n\n\n\n

        \n
      • YEAR: 2026<\/li>\n\n\n\n
      • DURATION: 91\u2019<\/li>\n\n\n\n
      • COUNTRIES: France, Madagascar, Burkina Faso<\/li>\n\n\n\n
      • LANGUAGE: Malagasy<\/li>\n\n\n\n
      • SUBTITLES: English subtitles throughout<\/li>\n<\/ul>\n\n\n\n

        Supported by: With the support of la R\u00e9gion Bretagne in partnership with le CNC, of la Fondation Alter-Cin\u00e9 and of le Fonds Image de la Francophonie with the financial contribution of the European Union and the support of l’Organisation des \u00c9tats ACP This film received la bourse Brouillon d’un r\u00eave of la SCAM, with the support of La Culture avec la Copie Priv\u00e9e and participated in the annual writing residency organized by the Ty Films association.<\/p>\n\n\n

        \n
        \"\"<\/figure>\n<\/div>\n\n\n

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        This November, IDFA will host the world premiere of Mangabangabaka, a documentary from Malagasy filmmaker Micha\u00ebl Andrianaly, known for his award winning work in socially charged cinema. Competing in the festival\u2019s International Competition, the film offers a deep dive into Madagascar\u2019s nightlife, asking who gets to reinvent themselves when raw survival must always come first.  […]<\/p>\n","protected":false},"author":140,"featured_media":143992,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_ppma_block_editor_authors":""},"categories":[1,2681],"tags":[],"ppma_author":[2587],"class_list":["post-143989","post","type-post","status-publish","format-standard","has-post-thumbnail","category-actueel","category-film"],"authors":[{"term_id":2587,"user_id":140,"is_guest":0,"slug":"redactie","display_name":"Redactie Afromagazine","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/1f9cf7aa753d7aa1934c5596d8b3bd11e7c00ae32e1e72ecdde53a85a0281d30?s=96&d=mm&r=g","avatar_alt":"","avatar_decorative":"","author_category":"","first_name":"Redactie","last_name":"Afromagazine","user_url":"http:\/\/afromagazine.nl","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/posts\/143989","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/users\/140"}],"replies":[{"embeddable":true,"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/comments?post=143989"}],"version-history":[{"count":1,"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/posts\/143989\/revisions"}],"predecessor-version":[{"id":143995,"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/posts\/143989\/revisions\/143995"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/media\/143992"}],"wp:attachment":[{"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/media?parent=143989"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/categories?post=143989"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/tags?post=143989"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/afromagazine.eu\/en\/wp-json\/wp\/v2\/ppma_author?post=143989"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}