#African Cinema

[noosphe-re]

Ousmane Sembène, Caméra d'Afrique (African Cinema: Filming Against All Odds)

[dailyworldcinema]

You're both looking to get empty graves. OMEN / AUGURE (2023) dir. Baloji

[artfilmfan]

Pioneering Cameroonian filmmaker and #NYAFF31 honoree, Dikongué Pipa, reflecting on the desires of African filmmakers in Férid Boughedir’s seminal 1983 doc, ‘Camera d’Afrique.’

[mariwatchesmovies]

Faya Dayi (2021) dir. Jessica Beshir cine. Jessica Beshir

[t-h-e-e-y-e]

ATLANTIQUES [Atlantics]

Mati Diop, 2009

[andquietrollsthedawn]

Bye Bye Africa (Mahamat-Saleh Haroun, 1999)

[contearchiviste]

Mami Wata

🎭 C.J. Obasi

🌍 Nigeria, 2023

[muhammadgiovanni]

Ousmane Sembène’s “Xala” 1975.

[leotanaka]

WE COME AS FRIENDS / NOUS VENONS EN AMIS (2014) dir. Hubert Sauper

[allweknewisdead]

Ceddo (1977) - Ousmane Sembène

[eightypercentjack-blog]

Last Thursday at movie club the film that won the poll for my suggested topic, 'Africa', was one that none of us had really heard of, Neptune Frost. An Afrofuturistic musical spanning a variety of themes and ideas and set in Burundi, this was a fascinating and thought-provoking watch.

The first half of this film was tougher to get into but once we move to 'Digitalia' and meet the full cast of characters suddenly everything began to truly click, brimming with bold, emotionally gripping themes of fitting societal expectations (on both an individual and broader cultural level), exploitation, economy, cultural identity, and the brutal realities and dualities of technological progress. Rap, folklore, music, colourful visuals and gorgeously creative costuming are used to bring to life a multi-layered plane of existence and characters quite literally acting as ciphers for a larger message.

During our movie club discussion it was interesting to compare my engagement and resonance with the film as someone who has spent 9 weeks volunteering in Namibia, interacting with the San tribe, compared to the rest of the group who didn't have an equivalent experience. I don't know much about Burundi and Rwanda specifically but my understanding and sense of authenticity and richness in the film was definitely impacted by my experiences in a different way. By the end I had a great appreciation for this ambitious and experimental film, and feel so glad that a project with a very African voice won (rather than one more heavily filtered through a Hollywood lens).

Plus as a huge jacket fan I got to add another great entry to my ongoing mental list of Awesome Jackets People Have Worn And I Now Covet!

[dailyworldcinema]

Emitaï (1971) Directed by Ousmane Sembène

[artfilmfan]

The Little Girl Who Sold the Sun (Djibril Diop Mambéty, 1999)

[dominairae]

Phyllis by Zina Saro-Wiwa

[mariwatchesmovies]

Faya Dayi (2021) dir. Jessica Beshir cine. Jessica Beshir

[celluloidrainbow]

TCHINDAS (2015) dir. Pablo García Pérez de Lara & Marc Serena Tchinda is one of most beloved women in Cape Verde, especially after she came out as transgender in the local newspaper in 1998. Since then, her name has become the term used by locals to name queer Cape Verdeans. Despite her great reputation, Tchinda remains humble and every afternoon she happily tours the neighborhood to sell her best "coxinhas", a classic treat coming all the way from Brazil, delicious fried balls of chicken. But every February everything changes; it's the month leading up to Carnaval, when the slow-paced atmosphere of the island transforms into a frenzied hustle and bustle as thousands flock to the streets. The days before the festivities are hectic, and the locals join forces to create something beautiful out of nothing. (link in title)