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ROFFEKE is proud to partner with Additude Africa

ROFFEKE is proud to partner with Additude Africa
"Additude Africa promotes time credits as a means of encouraging the youth to be involved in community building activities in order to add a new dimension in their lives and make a positive contribution to their communities."

ROFFEKE is proud to partner with

ROFFEKE is proud to partner with
"Looking for a way to pitch your idea for a television show or movie? offers a next generation platform for creators of original ptiches for TV, film and digital media to connect directly with Hollywood producers and studio executives."


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ROFFEKE logo by Jozie of Kenyan band 'Murfy's Flaw'

ROFFEKE is a member of the Universal Film and Festival Organization

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Comments on "The ABC of ROFFEKE" Screenings (September 2015 at iHub)

I liked all the films especially the one for Superman [“This is Joe”] and the last one which was longer [“ Frontman ”]. I look forward to at...

The Indie Bible

Monday, June 27, 2016

Review: The Day Trippers (2011)

Review by Josephine Koima (Intern)

Director: Pat Comer
Producer and Writer: Keith Bogue
Lead Actors: Dick Tobin, Barbara Seery
Duration: 6:46 minutes

There’s always the secret longing to re-live the younger, more youthful years of our lives, this film offers an insight to some ideas on how to do that. The Day Trippers is unquestionably entertaining, portrayed by characters trying to defy old age restrictions, for example, an old man lifting his crutch when completely lost in dancing.

The story, written by Keith Bogue is simply told, an old couple and friends have an avenue to have fun and reconnect, a secret rave that they alone know. Their choice of meeting, a closed hall that is deserted proves that. Their preferred mode of communication is a text message, where they are given details about the mystery rendezvous.

The sound is a favorable choice, since there is hardly any dialogue in the film, the music gives us perceptive on how the story unfolds. The characters share a love and enjoyment for Rock and Roll. Perhaps, this symbolizes the genre transcending time and age, more so with the use of Tom Newman, (a legendary record producer) performing as an ageing rocker with his band July. My deduction from the lyrics of the song performed is, it forms part of the narrative of the film, e.g. the line ‘regeneration of my generation’ being a catchphrase.

The director uses elements to help in the telling of the story. As the couple drive away from the beach, three cars follow them, they flicker their lights and this shows they know each other and probably heading the same way. The lighting at the rave is mellow, red and tends to recreate the ‘old school’ disco halls that the old timers were used to. This includes the disco bulb that seems prevalent in important scenes; a note is attached to it with a message about their next rave.

It is inferred that the old couple (Dick Tobin and Barbara Seery) are more excited about this rave as compared to the boring and ordinary moments spent on a beach that has little activity. In fact, they interact directly at the dance floor than at the beach. As it turns out, raves by old people are not that different from the ones young people go to, same things apply… secrecy, ambiguity and the objective is always to have fun. This short film could be for the amusement of people who value such pleasures as dance, and may just be an idea for prospective old rock and rollers.



Sunday, June 19, 2016

Rock 'n' Roll and Social Change

Excerpts from "U2: Anthem for the 80s"

“Rock ‘n’ Roll should be escapist, should be just about having a good time…and sure, I think rock ‘n’ roll has always had that. But why shouldn’t it also face what’s actually happening and try to deal with that as well.”

“I’m aware of the contradictions of being in a successful rock ‘n’ roll band and yet at the same time writing about the lack of success in my own contemporaries. …literally the people on the same street as I grew up are having to leave Ireland and go to America to find jobs.”

Dr Garrett Fitzgerald, Irish Prime Minister 1982-1987
“According to the New York Times, U2’s performance in the US has caused the Democratic Party in its approach to the next Presidential election to reevaluate its understanding of how young people in America think and feel.”

Bob Geldof
“In the 60s, Dublin was a very small, pretty European city. Due to corruption and mismanagement and appalling planning, they removed people from the heart of the city out to these appalling ghettos out in the suburbs….When they removed the heart of the city they took its soul with it. Some of the businesses started folding and it became a wasteland. And the city itself became destroyed at the hands of the city management.”

“We’re only a number in this country. U2 have a name.”

Bob Geldof
“If over half the country is under 25 you are looking at a potentially vicious explosive situation where you have classic African conditions like urbanization…a city that can’t live up to the expectations of the new immigrants…no jobs for those who have got the gumption to go out and try doing things themselves or for those who just look for a regular job or for university graduates then you have mass immigration again and that destroys the country.”

“People think because I am attracted to people like Gandhi or the Reverend Martin Luther King or even my faith, my believe in Christ, that I therefore am some sort of hero or man of God or peacemaker….One of the reasons I am attracted to these people is because I am the very person who would not turn the other cheek. I grew up with the violence in me and it’s still in me and I despise it."

“There was shouts of “Up the IRA”…. We were an Irish band and they thought we would fit into this version of Ireland and the revolution. I’m very clear on the way I feel about that. I would love to see a united Ireland but I never ever could support any man that would put a gun on somebody else’s head to see that dream come true. And we wrote Sunday Bloody Sunday in a rage.”

“I just set out this story: Broken bottles under children’s feet, bodies strewn across a dead end street. But I won’t heed the battle call. It puts my back up, puts my back against the wall. And then: And the battle’s just begun, there’s many lost but tell me who has won? The trench is dug within our hearts. Mothers , children, brothers, sisters torn apart. How long, how long must we sing this song?”

“I have often thought to myself…maybe we did fail…maybe the song Sunday Bloody Sunday is a failure…we didn’t succeed in making the point that we wanted to make…it has been misinterpretated…we’ve alienated the Republicans who wanted to use it as a battle cry and we’ve alienated the Unionists who only see it as a slap in their face.”

“LiveAid proved that music can unite people towards very specific ends if called upon. …music in the 60s surely contributed to the close down of the Vietnam war.”

“I think we write songs that we believe in. I don’t think we are trying to create a movement or tell people what to think. I think if there’s a message to U2 it’s think for yourself.”

“Amnesty International has doubled its membership as a result of the Conspiracy of Hope tour in the US. That’s real…that’s tangible evidence that the tide is turning…”

“I see that kind of concern coming in waves. I think the early 80s was a particular low point… and LiveAid was the beginning of a new awareness…I don’t think it’s unusual or precedent. I think it’s happened before and it will happen again…