Since 2017. the cover of the magazine was not anymore the responsibility of the chief editor and in October 2018, with issue 4/2018, a new editorial policy has been initiated. Although it was not foreseen since 2019, the cinema pages in SIGNIS MEDIA are not anymore reflecting the activities of the organisation in the professional world of cinema. In February 2019, SIGNIS started a new international multilingual trimestrial film magazine CineMag, seeing that cinema is still significant for the association and her mission to be present in the professional world. Cinema as art, an expression of human creativity, is a medium that influences cultures with values and worldviews. Since 1947, OCIC has been invited by international festivals to participate with juries (SIGNIS, Ecumenical, and inter-religious) to promote quality films that artistically translate values. In its 72 years, more than 2,000 films have been awarded or mentioned and most are now considered classics. This new journal wants to mark the presence of SIGNIS in the world of the cinema, but also to be an organ for its journalists-critics and media educators working in more than one hundred countries. It wants to tie on in the tradition of the International Cinema Review. The first issue of CineMag was dedicated to honoring the 50th anniversary of FESPACO – the African film festival held in Ouagadougou. Cinema in Africa has always been a concern of OCIC / SIGNIS. Since 1952, its member in Egypt promotes local cinema. In the 1950s, the OCIC missionary service in Rome used cinema for evangelization. His director Fr. Jean-Marie Poitevin, a Canadian known for his film At the Crossroads (À la croisée des chemins) in 1943, refused to make colonial propaganda. Since the independence of most African countries, missionaries in Senegal (Fr. Jean Vast), Congo (Fr. Alexander Van den Heuvel) and Poitevin in Rome have been working to decolonize the cinemagoing and production. It was part of their evangelization and meant humanizing the formerly colonized peoples who had been dehumanized by Western powers and their media. They supported Africans to make their own images and tell their own stories, not only for the public in Africa but also for the rest of the world. In the 1960s, Van den Heuvel proposed to OCIC to give Ousmane Sembène's Mandabi his Grand Prix. Then the organisation accepted the proposal of Professor Victor Bachy to consider promoting African cinema as one of