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Papa's song is a drama of domestic tension and cross-cultural misunderstanding. Nico Verema (Rene van Asten), a decorous, somewhat gloomy Dutch magistrate, lives happily with his wife, Shirley (Roman Vrede), who is from Curacao. Shirley's two young nephews, in the Netherlands to escape a bad situation at home, complete the household.

Its atmosphere of calm bourgeois propriety is soon upended by the arrival of the boys' mother, Magda (Lisette Merenciana). Shirley and Magda relationship is very stormy: they careen from screaming recrimination to tearful tenderness. Nico tries to mediate and soothe, but when Shirley, who cannot bear children, demands that he impregnate her sister, the good judge finds himself entangled in an intergenerational, trans-Atlantic web of family dysfunction.

"Papa's Song" touches on a number of fascinating and difficult themes, including the state of race relations in the contemporary Netherlands. A. O. Scott, NY Times. 

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Death and funeral traditions play a significant role in African culture. No Time to Die is director King Ampaw’s contribution to passing the tradition onto the next generation.

A hearse driver meets and falls in love with a young, beautiful dancer who is planning an elaborate homegoing celebration for her mother. This love and comedy feature length film follows David as he does everything to win her affection.

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Sixty five years old Abdelkader Silimani, an Algerian Muslin living in France, after inadvertently witnessing a murder, closely escapes from the murderers by hiding out into a mosque. The black leather dressed masked murderers, with their firearms in hand, do not hesitate to enter the mosque full of praying men looking for the eyewitness. They leave empty handed but determined not to give up their search.

Detective Leclerc is assigned to the case. As he searches for the eyewitness who stays mute with fear, the detective slowly discovers the Northern Paris Muslim community and its traditions. For the first time, the French detective is exposed to the contradictions and challenges minority communities face as they struggle to live in a new culture with a different set of values and religious beliefs.

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Maluala takes us into a palenque, a settlement of escaped slaves hidden somewhere in Cuba's eastern mountains, where discord is sown between black "kings" by clever subversives working for the Spanish government.

"Sergio Giral is the best known of the Black Cuban directors and his previous films were historical observations of the period of slavery in Cuba, the gradual rise of rebellion against colonial traditions, and the ultimate freedom that resulted. Maluala is the most striking addition to this genre. The action takes place during the last century in the region of Maluala. Gallo, the black chieftain, together with his cohort, Coba, present a petition for land and liberty to the colonial government. Governor Escudero offers liberty if the rebellious villages will be dismantled and their men offer themselves in surrender. He promises that they will be freed shortly thereafter. Three chieftains agree, but Gallo and Coba refuse... Giral has mounted Maluala with colorful ritual and acting. Samuel Claxton, as Gallo, is highly stylized in the heroic tradition. It is an absorbing adventure film wrought from historical events which appear violent, but Giral constantly implants into every image the necessity for unity among people in order to combat man's seemingly casual desire to subjugate mankind, in the struggle for power and undefined ambition." 
~ /San Francisco Film Festival, 1980/

"The historically lucid intrigues of Maluala (1979), where the Afrocentric leadership of fugitive palenque communities is pitted against each other COINTELPRO-style by Spanish colonists, is one of those Cuban films that were forged in a righteous, red-hot ferment but still found the courage and wit to ask questions about the society around them." ~ Gary Dauphin, The Village Voice

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Tomas,an Afro-Colombian teenager who fled the country's Pacific coast pushed out by the war, faces the difficulties of growing up in a city if exclusion and racism. When Jairo, his younger brother and closest friend disappears, Tomas plunges in the streets of the city. His search becomes an initiatory journey that compels him to face his past and to leave aside the influence of his is brothers in order to find his own identity. Through this journey, Tomas reveals a unique perspective of a vibrant and unstable city that, like Tomas, stands on the threshold between what once was and what might be.

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"Kukurantumi treats a formidable theme--the erosion of traditional values in a modernizing country--in an upbeat, engaging tale that takes place, fittingly, on the road connecting a rural village to the Ghanaian capital of Accra." ~  BERKELEY ART MUSEUM & PACIFIC FILM ARCHIVE

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This animated film exquisitely recounts the tale of tiny Kirikou born in an African village in which Karaba the Sorceress has placed a terrible curse. Kirikou sets out on a quest to free his village of the curse and find out the secret of why Karaba is so wicked.

Lisa Nesselson of Variety (11/1/99) notes: "KIRIKOU AND THE SORCERESS employs snappy visuals to tell a catchy story for all ages. A blend of African folktales "Kirikou" has both humor and flair." KIRIKOU depicts a precocious newborn infant who battles ignorance, and so-called evil, with endearing perseverance. This film speaks to the child within us all who yearns to express and defend the best in others and ourselves. KIRIKOU's stunning visuals are accented by a traditional music soundtrack by African music giant Youssou N'Dour of Senegal.

"A blend of African folktales Kirikou has both humor and flair. Kirikou and the Sorceressemploys snappy visuals to tell a catchy story for all ages." - Lisa Nesselson of Variety 

“Kids will love Kirikou and the Sorceress, an offbeat carton feature about an alarmingly brainy tot. The lesson taught by Kirikou, that an evildoer actually is someone in pain, is a good one for kids to learn early” - The Record

“In its 16-year history, the Chicago International Children’s Film Festival’s two juries – one comprising children, the other adults – had never given their top prized to the same film, until last year, when both juries honored Kirikou and the Sorceress, a beautifully animated first feature by French filmmaker Michel Ocelot about an African boy’s battle with an evil witch for the soul of his people. Filled with lessons about morality, bravery, selflessness and compassion, Kirikou and the Sorceress is top-shelf family entertainment.” - Chicago Tribune.

“Kirikou and the Sorceress is magic from a clear sky. Dazzlingly painted images limn forth this folklore based animated feature by French-born, Guinea-raised Michel Ocelot. A newborn toddler whose simple powers are speed, mischief and ingenuity outwits an evil sorceress who comes on like a bead-bedecked Gloria Swanson. In the best tradition of National Geographic ethnography, everyone is naked, beads apart, and the scenery is gorgeous. Kirikou and the Sorceress is funny, charming, wise, beautiful, and exciting…” Arts section - Financial Times

"Should appeal to younger children and to adults who can appreciate its quiet pleasures." -- Eric Harrison, Houston Chronicle

SYNOPSIS

Charlie, Thabo and Peter, three "MK" veterans from the armed branch of the African National Congress, return to post-apartheid South Africa in 1996 after years of exile. It will not be easy for them to find their place in society again. Charlie dreams of opening a club, Thabo has to patch up his relationship with his wife and son and Peter continues to work in the Party and investigate the traitors of the ANC. Continuously hampered as he delves into the Government's files, his ensuing investigations provide shocking revelations of the identities of the traitors. Pared down from a successful mini series for the South African Broadcasting Corporation, Homecoming draws its plot from the real life experiences of acclaimed filmmaker and writer, Zola Maseko, a former "MK" soldier of the ANC. Morman Maake (26) is perhaps the most promising young director from South Africa. He studied at ADFA, a dynamic young film- and drama school in Johannesburg. He has several films to his name, amongst which Sweet Home (1999), Soldiers of Rock (2003), and Homecoming (2005).

Fevers, winner of FESPACO - Africa's largest film festival - 2015 grand prize, the Golden Stallion of Yennenga, is a French version of We Need to Talk About Kevin about a disturbed young man raised on foster care who enters his father's Muslim household in the suburbs of Paris and becomes a major source of disruption in the family.

At only thirteen, Benjamin is a little soldier at war with life, adults and with himself. Since the age of five, the troubled kid goes back and forth into foster homes. But when his mother goes to jail and reveals to Benjamin the existence of his father, the young boy is determined to get out of foster care. So when the social worker gives him the choice, he decides to go live at his unknown father's place.

Director's creative statement

Fevers could have been, filmed in any city, but I chose to shoot this story in a working class neighborhood. In terms of writing and directing the movie breaks stereotypes, it has a more modern and contrasted vision of that world.

In the suburbs, everything is intense, extreme and violence prevails as well, however there's also poetry and a great joy for life and as a storyteller that's what inspired me about it. The people living in this neighborhood are funny, easy to become attached to and especially human. That humanity is a beautiful cinematographic tool, because it holds emotions and, as a director, I only strive towards emotions.

The work on the picture has been carried out in the same poetical approach, I gave the image a soft grain noise in order for it to work in contrast with the story's toughness; I built a rather polished image with very well arranged shots so as to transport the audience to another dimension. Graphically. I worked a lot on the buildings architecture and on the lines in order to enhance their geometry. The idea was to make the tall buildings seem like living beings following the rhythm of the characters pulses.

The story is naturalistic, but I decided to go with very firm viewpoints in terms of light with a lot of contrasts and vivid colors. Work on the set decoration was carried out in that same optic, some walls were painted in green, blue or red, this way every character had a color that attunes to him. Lastly, the work on sound and music was also based on that same need for contrast, with the aim, here again, to transport the viewer to another universe.

Hicham Ayouch

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Eleven year old Mariam works as a domestic to provide for her guardian, her unemployed Uncle Djimet, and his family. Mariam wakes up early each day to go to work while Djimet, his wife Isabelle and their children are still asleep. Mariam works as an all-purpose maid, housekeeper, cook and baby sitter for the Nadji family. With her many tasks, she is constantly under pressure from Nadji and his son Moussa, and must answer to the whims of his wife, and young children. One day, Mariam is arrested for having unwittingly thrown rubbish in a prohibited place. She is detained for five days in prison without her uncle or employer even inquiring of her whereabouts. "Childhood destroyed" denounces the living conditions of young girls in Chad in a delicate yet powerful way.

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Praïa, Cape verde. Laura, Flavia and Bela are childhood friends. Each leads her own life and they sometimes meet to dance, dine and have fun. But one day the calm rivers of their lives break their banks and become wild torrents: Ricardo, Flavia's husband, rapes his pupil Indira, Laura's 13-year old eldest daughter. A film that takes a critical look at the lives of women in Cape Verde.

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