Cinema of Guinea-Bissau

Filmmaking in the country after independence suffered due to a lack of governmental support and funds, although the Instituto Nacional de Cinema was founded during this time.

[3][2] Cuba's government was aligned with the PAIGC's goals, and Álvarez himself was a proponent of the Third Cinema movement, which emphasized a non-colonial and revolutionary perspective in film, as well as an experimental, low-budget style.

Co-directed by five filmmakers in 1976, including the four Cuban-trained videographers, uses live footage and still imagery to document the procession of Cabral's body from Conakry to Bissau, following the revolutionary's assassination.

Footage was filmed for the intended program, Jornais de Atualidades, but was never broadcast, and the filmmakers were afforded little creative control on the project.

The filmmakers were finally given a grant in 1979 to produce Guiné-Bissau, Seis Anos Depois (Guinea-Bissau, Six Years Later), which would reflect the country's accomplishments since independence.

[10] João Bernardo Vieira, the new leader of the country banned the film O regresso de Amílcar Cabral, due to its propaganda value towards the previous regime.

The same year, Flora Gomes set out to make Mortu Nega, which would become the first feature-length Bissau-Guinean fiction film, produced with the backing of the government.

[7][11] Gomes followed up Mortu Nega with a second feature, The Blue Eyes of Yonta (1992), which was again produced by the government, this time with the help of the Institute of Cinema of Portugal and other Portuguese backers.

[12][6] The Instituto Nacional de Cinema began working with the Ministry of Education to increase the capability of Guinea-Bissau to produce and distribute films.