{"id":26240,"date":"2021-02-19T09:05:07","date_gmt":"2021-02-19T09:05:07","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&#038;p=26240"},"modified":"2024-09-15T18:07:21","modified_gmt":"2024-09-15T18:07:21","slug":"you-cant-go-home-again-ekwa-msangis-debut-feature-farewell-amor","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/you-cant-go-home-again-ekwa-msangis-debut-feature-farewell-amor\/","title":{"rendered":"Home is Where I Want to Be: Ekwa Msangi\u2019s Debut Feature \u201cFarewell Amor\u201d"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"630\" data-attachment-id=\"28070\" data-permalink=\"https:\/\/jwolfepr.com\/dev\/farewellamor-feature\/\" data-orig-file=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2021\/02\/FarewellAmor-feature.jpg?fit=1200%2C630&amp;ssl=1\" data-orig-size=\"1200,630\" data-comments-opened=\"1\" data-image-meta=\"{&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"FarewellAmor-feature\" data-image-description=\"&lt;p&gt;Jayme Lawson as Sylvia in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films&lt;\/p&gt;\n\" data-image-caption=\"&lt;p&gt;Jayme Lawson as Sylvia in Ekwa Msangi\u2019s \u201cFarewell Amor.\u201d Cr: IFC Films&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2021\/02\/FarewellAmor-feature.jpg?fit=1024%2C538&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/1_FarewellAmor-feature.jpg?resize=1200%2C630&#038;ssl=1\" alt=\"Jayme Lawson as Sylvia in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films\" class=\"wp-image-28070\"\/><figcaption class=\"wp-element-caption\">Jayme Lawson as Sylvia in Ekwa Msangi\u2019s <em>Farewell Amor<\/em>. Cr: IFC Films<\/figcaption><\/figure>\n\n\n\n<div class=\"wp-block-columns article-content is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<p class=\"wp-block-paragraph\">\u201c<em>Farewell Amor<\/em> powerfully argues that you can never really go home again, especially when that home was never yours to begin with,\u201d film critic <a href=\"https:\/\/www.indiewire.com\/2020\/12\/farewell-amor-review-ekwa-msangi-1234603793\/\" target=\"_blank\" rel=\"noreferrer noopener\">Ryan Lattanzio<\/a> writes in his review of the movie for <em>IndieWire<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The feature debut from Tanzanian American filmmaker Ekwa Msangi, <em>Farewell Amor<\/em> is an intimate and deeply personal immigrant story inspired by true events: Msangi\u2019s uncle came to the U.S. from Tanzania in 1996 on a student visa with every intention of eventually bringing his wife to join him. Twenty-four years later they\u2019re still living apart, regularly applying for visas that are just as regularly denied, yet remain hopeful that they will one day be reunited. <em>Farewell Amor<\/em>, which was released in select theaters in December by IFC Films and is currently streaming on digital and VOD platforms, imagines a scenario in which that happens.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After 17 years apart, Angolan immigrant Walter (Ntare Guma Mbaho Mwine) is joined in the US by his wife and teen daughter. Now absolute strangers sharing a one-bedroom Brooklyn apartment, they struggle to overcome the emotional distance between them. Walter is trying to let go of a previous relationship while his religious wife Esther (Zainab Jah) struggles with a new country, culture, and a husband who seems distant. Their daughter, Sylvia (Jayme Lawson), also finds her new life difficult but begins to explore the city and show herself through dance, setting the stage for an inevitable clash of values.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/FarewellAmorStill1-LR.jpg?ssl=1\" alt=\"Ntare Guma Mbaho Mwine as Walter, Zainab Jah as Esther and Jayme Lawson as Sylvia in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films\" class=\"wp-image-26232\" style=\"width:840px;height:auto\"\/><figcaption class=\"wp-element-caption\">Ntare Guma Mbaho Mwine as Walter, Zainab Jah as Esther and Jayme Lawson as Sylvia in Ekwa Msangi\u2019s <em>Farewell Amor<\/em>. Cr: IFC Films<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.indiewire.com\/2020\/12\/farewell-amor-review-ekwa-msangi-1234603793\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Farewell Amor<\/em> Review: An Angolan Family Reunites in America in Empathetic Slice of Immigrant Life (IndieWire)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThis particular time in history feels like one where there is an audience that is curious, that is willing to listen, that is willing to challenge their assumptions, and most importantly, is willing to follow the lead of an African female filmmaker in the telling of that story,\u201d says Msangi, who has also written and directed several drama series for mainstream broadcasters in Kenya and South Africa, including <em>The Agency<\/em>, MNET\u2019s first-ever original hour-long Kenyan drama series.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Farewell Amor - Official Trailer | HD | IFC Films\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/J364vYbwpzo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The film, shot by cinematographer Bruce Francis Cole, opens with a touching reunification scene set in an international airport. \u201cOver the course of this beautifully filmed and sweetly moving drama, the writer and director Ekwa Msangi will keep rewinding back to this airport reunion scene and then letting the events of the next several days play out, each time from a different character\u2019s perspective,\u201d Justin Chang, film critic for the <em>Los Angeles Times<\/em>, says in his review for NPR\u2019s <em>Fresh Air<\/em>. \u201c<em>Farewell Amor<\/em> is sort of like the <em>Rashomon<\/em> of New York immigrant stories: It\u2019s deeply empathetic toward all three of its protagonists, giving each of them the same dramatic weight and bringing to light their specific struggles and anxieties.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"FAREWELL AMOR | Official Clip | MUBI\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/fizH2dicuQg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Msangi\u2019s love for her characters can be felt \u201csimply through the care with which she films them,\u201d Chang notes. \u201cMsangi is especially attentive not only to her actors\u2019 faces, but also their bodies, the way they move through space \u2014 clumsily at first, but with growing ease as the bonds of family gradually reassert themselves. The hopeful note on which this movie ends also feels like a new beginning.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Listen to Chang\u2019s review of <em>Farewell Amor<\/em> on NPR\u2019s <em>Fresh Air<\/em> in the audio player below:<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/www.npr.org\/player\/embed\/944623420\/945512380\" width=\"100%\" height=\"240\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\"><\/iframe>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.npr.org\/2020\/12\/11\/944623420\/an-immigrant-family-is-reunited-after-17-years-in-the-sweetly-moving-farewell-am\" target=\"_blank\" rel=\"noreferrer noopener\">An Immigrant Family Is Reunited After 17 Years In The Sweetly Moving <em>Farewell Amor<\/em> (NPR\u2019s \u201cFresh Air\u201d)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Farewell Amor<\/em> was shot on the Arri Alexa Mini using a combination of Panavision Primo and Cooke Panchro lenses. Told in the form of a triptych, the filmmakers \u201cwanted each chapter to feel tethered to the emotions of our characters,\u201d Cole explains to <em>IndieWire<\/em>\u2019s <a href=\"https:\/\/www.indiewire.com\/2020\/01\/sundance-2020-cinematography-camera-lens-1202204356\/\" target=\"_blank\" rel=\"noreferrer noopener\">Chris O\u2019Falt<\/a>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cDuring prep, the director (Ekwa Msangi) and I decided that creating a different visual language for each chapter was the most effective way to achieve that. We used Classic Primos to create a sense of realism for the first half of the film. Chapter 1 in our film was in the style of \u2018slow cinema,\u2019 which at times required long observational-like takes on a stationary camera. Our character Walter, the husband, is trapped between his old life and his newly arrived family.<br><br>\u201cThe second chapter was more in the style of \u2018cinema verit\u00e9.\u2019 We used handheld camera movement to reveal the inner conflict and rebellious angst of a young teenager trying to navigate her way through a new life. The third chapter was more in the style of romanticism. This is also where we switched lenses to the painterly-like Cooke Panchros. Taking inspiration from the Slavko Vorkapic technique and the art of the montage, we used a lot of long lenses and diopters. We open up and find our character Esther living and desiring to be in the prefect marriage so bad that she chooses to live in a fantasy until it all comes shattering down. We wanted to isolate her emotional journey and reveal her enamored view of the same unfolding events as in the chapters before.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.indiewire.com\/2020\/01\/sundance-2020-cinematography-camera-lens-1202204356\/\" target=\"_blank\" rel=\"noreferrer noopener\">How I Shot That: Here Are the Cameras Used to Shoot This Year\u2019s Sundance Films (IndieWire)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">On the <a href=\"https:\/\/www.panavision.com\/far-home\" target=\"_blank\" rel=\"noreferrer noopener\">Panasonic website<\/a>, Msangi and Cole further detail the visual language they developed for <em>Farewell Amor<\/em>, including the use of framing to express the state of the relationships between the characters. \u201cWe relied on the camera and framing because any other choices would have required a bigger budget, which we didn\u2019t have, or more control, which we didn\u2019t have,\u201d Cole recounts:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cAlmost everything was thought out beforehand. We had to figure out exactly what we were going to say and how it would fit into each chapter\u2019s particular language. We pushed that aesthetic, and we made sure to keep it, because it\u2019s very easy when you\u2019re under stress to forget about it and go to rudimentary concepts and ideas instead of really trying to lean into the subjective language that you want to use. So we knew exactly what we were doing with every frame.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">The limited budget, coupled with a tight production timetable and what Msangi calls \u201ctiny locations,\u201d all added to the need for careful planning. \u201cThat apartment was as small as it looks and feels. I remember Bruce being like, \u2018Oh my god, how do we make this look interesting so that we\u2019re not just doing this and this the whole time?\u2019 Because there literally were two places that we could shoot from,\u201d she recounts:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cWe didn\u2019t storyboard, but we did have shot lists for everything, and I had drawn little squiggly diagrams on the script for where the camera would be. There were some surprises and some moments of working on the fly, but it was always within what we had envisioned because we had talked so thoroughly about what it was that we wanted to see or the effect that we wanted to create.\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/FarewellAmorStill8-LR.jpg?ssl=1\" alt=\"Zainab Jah as Esther in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films\" class=\"wp-image-26231\"\/><figcaption class=\"wp-element-caption\">Zainab Jah as Esther in Ekwa Msangi\u2019s <em>Farewell Amor<\/em>. Cr: IFC Films<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">It was important to be \u201creally deliberate,\u201d Cole adds. \u201cIt was about revealing information as opposed to just covering the scene, which meant there was a defined place where the camera wanted to be.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One scene in the apartment kitchen, which shows Esther cooking while Sylvia is on the computer, begins with a shot-reverse-shot pattern that keeps each character in her own frame, but at a certain point the camera begins to pan between them, connecting them in the same shot.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThere were two times in particular we wanted to do that panning technique, in the kitchen and at the bus stop when Sylvia\u2019s talking to DJ [Marcus Scribner],\u201d Cole notes:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cIt\u2019s a subtle technique that shows the connection between two characters. It\u2019s about the rhythm between both of them and how much they\u2019re communicating or not communicating with one another\u2026. You\u2019re putting the audience, for a moment, back into their own perspective, trying to figure out who they want to go with, as opposed to being in the perspective of one of the characters. You lean on the operating because at some point you\u2019re choosing to not show something and to focus on something else instead.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.panavision.com\/far-home\" target=\"_blank\" rel=\"noreferrer noopener\">Far From Home (Panavision)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/FarewellAmorStill7-LR.jpg?ssl=1\" alt=\"Ntare Guma Mbaho Mwine as Walter in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films\" class=\"wp-image-26238\"\/><figcaption class=\"wp-element-caption\">Ntare Guma Mbaho Mwine as Walter in Ekwa Msangi\u2019s <em>Farewell Amor<\/em>. Cr: IFC Films<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Farewell Amour<\/em> began as a short film project, Msangi reveals in an interview with <a href=\"https:\/\/www.sagindie.org\/interviews\/ekwa-msangi-farewell-amor\/\" target=\"_blank\" rel=\"noreferrer noopener\">Colin McCormack<\/a> for <em>SAG Indie<\/em>. \u201cWe decided to create the short as a proof-of-concept in order to help us gain momentum and gain support for the feature film,\u201d she says. \u201cWe had gotten a small cash award for a previous short film that we had worked on and it was a very tiny award, so we were only able to make a tiny, tiny film. So it wasn\u2019t going to be able to have a whole airport scene or anything else in there, so I thought, \u2018Okay, so maybe the moment before he goes to the airport \u2013 what would that be like?\u2019 He\u2019s in his house, it\u2019s just him and maybe one other person, so maybe take it from there as a way to help us gain momentum for the feature.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Msangi was expanding the short into a feature script, she landed on the idea of structuring the film around the family\u2019s three separate viewpoints:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cBecause the short focused on Walter\u2019s character and when I started working on the feature I had just come off of the short, that was freshest in my mind and it was easy to start writing Walter\u2019s character. But it felt a little clich\u00e9 to write a story about a guy who has an affair and his problems. So I thought, \u2018Well, maybe I\u2019ll do it from his daughter\u2019s perspective.\u2019 But I was afraid that if I had a film about a young teen with dance elements in it would be thrown into the bucket of a typical \u2018teen dance movie\u2019 and I didn\u2019t want it to be relegated to that or reduced to just that. So I decided to do both of their perspectives and initially, it was just the two perspectives, Sylvia\u2019s and Walter\u2019s. And then six to eight months into the process, it was pretty clear that Esther\u2019s story was the lynchpin for both of their stories and it didn\u2019t make sense not to have her story in it as well. So I decided at that point to make it a triptych and have all three perspectives, which kind of intrigues on this idea that the three of them are all experiencing this one victorious event of their reunion. We have a lot of assumptions of, <em>They must all feel great! They must be so excited!<\/em> And they are, but they\u2019re also experiencing a whole bunch of other things that are specific to each character. So I wanted to explore each and not sacrifice one perspective for the sake of someone else\u2019s perspective.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.sagindie.org\/interviews\/ekwa-msangi-farewell-amor\/\" target=\"_blank\" rel=\"noreferrer noopener\">Filmmaker Interview: EKWA MSANGI, writer\/director\/producer of FAREWELL AMOR (SAG Indie)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/FarewellAmorStill6-LR.jpg?resize=1080%2C720&#038;ssl=1\" alt=\"Ntare Guma Mbaho Mwine as Walter and Nana Mensah as Linda in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films\" class=\"wp-image-26237\"\/><figcaption class=\"wp-element-caption\">Ntare Guma Mbaho Mwine as Walter and Nana Mensah as Linda in Ekwa Msangi\u2019s <em>Farewell Amor<\/em>. Cr: IFC Films<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Growing up in Kenya, where there was no original local programming, Msangi said it took time to understand that African filmmakers even existed. She \u201crarely saw herself in the imported Indian and American movies, or in the British TV shows,\u201d she told <a href=\"https:\/\/www.indiewire.com\/2020\/02\/farewell-amor-ekwa-msangi-1202205875\/\" target=\"_blank\" rel=\"noreferrer noopener\">Tambay Obenson<\/a> in an interview for <em>IndieWire<\/em>. \u201cI complained about it so much, and finally, my father said, \u2018Why don\u2019t you go make your own movies, instead of complaining about what you\u2019re not seeing?\u2019 And I thought, \u2018OK, I will.\u2019 So I embarked on it thinking, \u2018I\u2019m going to be the first African movie pioneer.\u2019\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1080\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/FarewellAmorStill4-LR.jpg?resize=1080%2C720&#038;ssl=1\" alt=\"Zainab Jah as Esther and Jayme Lawson as Sylvia in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films\" class=\"wp-image-26235\"\/><figcaption class=\"wp-element-caption\">Zainab Jah as Esther and Jayme Lawson as Sylvia in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">It wasn\u2019t until she saw a local television station\u2019s late-night showing of Spike Lee\u2019s <em>School Daze<\/em> by chance that Msangi began to view herself as a filmmaker. She was accepted into New York University\u2019s Tisch School of the Arts, at age 17, but initially struggled to find acceptance of her work as an African filmmaker. Becoming frustrated and discouraged, she almost gave up on becoming a filmmaker. But in her senior year Msangi took a course taught by African film historian Manthia Diawara, who introduced her to African cinema and directors such as Souleymane Ciss\u00e9, Djibril Diop Mamb\u00e9ty and Ousmane Semb\u00e9ne. \u201cThat was definitely a game changer for me, because I realized that I\u2019d just been speaking to the wrong audience,\u201d she said. \u201cI needed to be making films for African people.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.indiewire.com\/2020\/02\/farewell-amor-ekwa-msangi-1202205875\/\" target=\"_blank\" rel=\"noreferrer noopener\">To Become an American Filmmaker, Ekwa Msangi Found Her African Voice (IndieWire)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/FarewellAmorStill5-LR.jpg?ssl=1\" alt=\"Ntare Guma Mbaho Mwine as Walter and Jayme Lawson as Sylvia in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films\" class=\"wp-image-26236\"\/><figcaption class=\"wp-element-caption\">Ntare Guma Mbaho Mwine as Walter and Jayme Lawson as Sylvia in Ekwa Msangi\u2019s FAREWELL AMOR. Cr: IFC Films<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Want more? Watch the Film at Lincoln Center Patron Q&amp;A with director Ekwa Msangi and <em>Farewell Amor<\/em> stars Ntare Guma Mbaho Mwine, Zainab Jah and Jayme Lawson in the video below:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Farewell Amor Q&amp;A with Ekwa Msangi, Ntare Guma Mbaho Mwine, Zainab Jah &amp; Jayme Lawson\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/o6cCzAvLpzQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Farewell Amor Q&amp;A with Ekwa Msangi, Ntare Guma Mbaho Mwine, Zainab Jah &amp; Jayme Lawson<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"FAREWELL AMOR | In Conversation with Ekwa Msangi &amp; John Akomfrah | MUBI\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/uOzwd1coi4s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">FAREWELL AMOR | In Conversation with Ekwa Msangi &amp; John Akomfrah | MUBI<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Farewell Amor - 56th ChiFilmFest Livestream Q&amp;A\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/-zswvqlaYRo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Farewell Amor &#8211; 56th ChiFilmFest Livestream Q&amp;A<\/figcaption><\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Cinematographer Bruce Francis Cole captured the film\u2019s intimate visuals with the ARRI Alexa Mini and Panavision Primo and Cooke Panchro lenses.<\/p>\n","protected":false},"author":2,"featured_media":28070,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-26240","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"<!-- 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