THE REVIEW By Nico Abote – A few nights ago in Calgary, I returned for my second year attending the opening of the 5th Calgary Black Film Festival, and it delivered exactly what I had hoped for. From the red carpet moments to heartfelt opening remarks by Andrea Este (Head Coordinator of the Fabienne Colas Black Film Festivals across Canada), it was clear we were in for a night that would not only entertain but also stir the soul.

The film that kicked off the festival, Fight Like A Girl, carried a full emotional payload, setting the tone for the evening, and throughout the festival’s entire run. The after-party was lit: a great networking scene, amazing music from Robson Maurice, the Key30 Orchestra, and Ezeada. The energy wrapped the evening in a vibe that reminds you, this is more than a festival, it is a movement.

Directed by Matthew Leutwyler, Fight Like A Girl tells the story of an all-female boxing team in Goma, eastern DRC, founded by Congolese boxing legend Balezi “Kibomango” Bagunda in response to the country’s staggering levels of gender-based violence and poverty. Leutwyler met Kibomango while working with his Non-Profit Organization, We Are Limitless, which supports children and survivors of sexual violence in the DRC and Rwanda. The film, a fictionalized narrative inspired by real events, is deeply rooted in raw truth. Local street kids, militia members, and real boxers were cast in supporting roles to enhance authenticity.

In the starring role is Ama Qamata, best known as the lead from Netflix Africa’s most-watched series Blood & Water. She plays Safi, a young woman who escapes forced labor in an illegal gold mine and finds strength, and eventually purpose, through boxing. Hakeem Kae-Kazim delivers a powerful performance as Kibomango.

However, it is the performances by first-time actors Clarck Ntambwe and Blandine Florence that stole my heart. Ntambwe, who plays Aisha, portrays a role strikingly close to her real life as the no-nonsense lightweight champion of North Kivu. She has been training under Kibomango since age 14 and recently won silver at the African Zone 3 Championship. Florence, meanwhile, appears as a fictionalized version of herself, a fierce protector of Goma’s street girls, while currently experiencing real-life homelessness with her toddler child.

Watching the film, I could not help but feel the room shift. The abuse scenes were heavy, groans and sighs filled the cinema. There were also moments of love and laughter that balanced the narrative. Safi’s left or right hooks in the ring were more than a punch, it was a release, a rebellion, and a prayer. It hit different.

As filmmaker Matthew Leutwyler later told me:

“The inspiration for Fight Like a Girl began unexpectedly. I was in Rwanda, scrolling through Instagram, when I came across a series of striking images, young women boxing in Goma, in eastern Congo. There was something powerful and defiant in their stance. I finally sat down with Kibomango and listened to his story. It was one of resilience and transformation. My producing partner Anton Laines and I decided to follow him and the team with cameras…”

One other key and noticeable element that carried, besides the rawness of the locations used, the film’s soundtracks and original scoring were magical. According to the film credits, they exclusively featured East and broader African artists whose work reflects the continent’s deep cultural influence on global genres like Blues, Jazz, and Gospel. Featuring talents such as Muthoni Drummer Queen, Nasty C, Aṣa, and Congolese artist Céline Banza, whose closing track “Tere Mbi” offers a powerful declaration of female identity, the film celebrates African voices in every note.

While editing the film in Zanzibar, director Matthew Leutwyler discovered SINAUBI ZAWOSE & PAMOJA ZANZIBAR, a group blending traditional East African gogo instruments with modern rap, whose collaboration with U.S. composer Coby Brown helped shape the film’s haunting and emotionally rich score.

After the film, I caught up with Rosebud, one of the attendees, who was visibly emotional. I asked what she thought:

“Well, my initial thoughts after watching the movie were of empathy, heartbreak, compassion, and admiration for the actresses. My heart cried out for them as they constantly fought for their identity, rights, battling against discrimination, trauma, sexism, and never-ending obstacles. I remembered the Bible verse, ‘Let the weak say, I am strong.’ Sometimes a loss is truly a win.”

I also reached out to the festival’s Head Programmer, Jean-François Méan, who explained why Fight Like A Girl was chosen as the opening film:

“The film’s central narrative of personal resilience and self-empowerment is inspirational and aligns with our mission to encourage emerging Black filmmakers, particularly women, to ‘get in the ring’ and make their mark. It is a powerful film and we thought it would set a tone of strength and inspiration for the entire program.”

With the ongoing crisis in eastern DRC and Goma’s role at the center of recent conflicts, the timing of this film could not be more important. It is more than just a movie, it is a document of resilience, an elegy for the fallen, and a rallying cry for change.

As Leutwyler told me about what’s next:

“We are finishing the original documentary we began with the boxing team. I am also working on a few new projects, including a thriller set in the Niger Delta about oil piracy and corruption.”

Fight Like A Girl is the first Western narrative feature shot in East Congo. It blends fiction with real-life grit in a way that makes your heart heavy, yet full. With the death of Kibomango in January 2025, this film now stands as a living tribute to his legacy.

“Tragically, as M23 rebels entered Goma, he was shot and killed during the fighting. The film is now a tribute to Kibomango; to his strength, his vision, and his tireless efforts to build something better for the most vulnerable.” said Matthew Leutwyler.

The weight of that loss could be felt throughout the screening.

If there is one thing I took away from this year’s Calgary Black Film Festival, it is this: stories like Fight Like A Girl remind us why we create. To amplify the unheard, to honor the fallen, to inspire the brave, and above all, to fight like a girl.

Speaking to Ayeesha Mbanugo, a young actress breaking into Canada’s film scene. She shared her perspective with bold honesty:

“It means that I, as a black girl and actress, can have a community where I can connect with people who look like me and understand me. I think it is essential for black people to have a medium where they can be celebrated and seen and having a festival like this provides that.”

On how the festival shaped her own storytelling journey, she added:

“It has impacted my perspective because I feel it has given me the confidence to go out there in the film industry. Seeing people who look like me and are doing the same things gives me even more drive to get started. I think emerging black talent needs that, always!”

Without the Calgary Black Film Festival’s thoughtful curation, many of these powerful life stories would remain unseen. It is a vital creative platform in Alberta, and across Canada that makes space for diverse global narratives to be shared and celebrated. I strongly encourage filmmakers and creatives to immerse themselves in festivals like this. They expand our perspective, reconnect us with real and often forgotten stories, and remind us that despite the distances between us, separated by oceans or borders, we share the same heartbeat of love, resilience, compassion, and hope for a better world.

With over 20 years in film, TV, and digital media, Nico Abote is a visionary storyteller and media strategist. He is the Lead Consultant at Abote Media Consultancy based in Canada and Zimbabwe. As co-founder of My Afrika Magazine and Play Afrika TV, he highlights Africa’s creativity and connects the continent with its diaspora.
In Canada, Nico continues to produce award-winning content, spearheading projects like Dance Matchmaker, a reality TV series, building production studios and contributing to numerous other creative initiatives. He is an advisor and mentor on a number of boards, in Canada and across Africa. His work empowers communities, nurtures talent, and reshapes how Africa’s stories are told, boldly and authentically.