10 African films to watch out for, N°4

Here are another 10 films we’re hoping to see in the (near) future. First, three “fiction” films. ‘Winter of Discontent’, a film by director Ibrahim El Batout is set against the backdrop of the 2011 Tahrir Square protests, zooming in on the the lives of activist Amr (Amr Waked), journalist Farah (Farah Youssef) and state security officer Adel (Salah Alhanafy):

‘Kedach Ethabni’ (“How Big Is Your Love”) is a film by Algerian director Fatma Zohra Zamoum probing “tradition and modernity” through the lives of a three-generation family in Algiers. An English-subtitled trailer here and an interview with the director here.

‘Black South-Easter’ by director Carey McKenzie, starring Tony Kgoroge, is set in Cape Town and tells a story of police corruption. I’m told it has a very good soundtrack too. No trailer yet.


And seven documentaries:

‘Babylon’ is a film by Ismaël Chebbi, Youssef Chebbi and Ala Eddine Slim. In the aftermath of its own revolution, Tunisia received an influx of displaced persons from Libya, who got housed in camps. The film traces, without any voice-over commentary, the construction and closure of one such camp. A fragment:

(Three more fragments here.)

‘Noire ici, Blanche là-bas’ (“Black here, White there”) is an addition to the growing diasporic body of recent and very personal films about the searching for one’s roots. Born in Congo to a French father and a Congolese mother, and having moved to France at a young age, Claude Haffner films her own ongoing quest, returning to and visiting relatives in Mbuji-Mayi. No English trailer yet:

Philippa Ndisi-Herrmann is working on a documentary about the development of “Africa’s largest port” on the island of Lamu, off the Kenyan coast. We Want Development (but at what cost?)

In ‘Our Bright Stars’, a film directed by Sidi Moctar Khaba and Frédérique Cifuentes, various people from South Sudan share their expectations of the new nation:

François Ducat and Frank Dalmat have made a documentary about Zimbabwean music band Mokoomba (‘d’une rive à l’autre’; “from one [river] bank to the other”):

(Here’s another fragment.)

In ‘One Day in the Madrassa’, filmmaker Youssef Ait Mansour goes on a journey to meet his brother who has chosen to live in a secluded madrassa in the Moroccan desert:

And, also set in Morocco, ‘Bahr Nnass’ (“Sea of Tears”) by director Marouan Bahar is a critical film that follows a seaweed-digging diver as she struggles to make ends meet for her family:

* Our previous new films round-ups: part 1, part 2 and part 3.

Further Reading

Energy for whom?

Behind the fanfare of the Africa Climate Summit, the East African Crude Oil Pipeline shows how neocolonial extraction still drives Africa’s energy future.

The sound of revolt

On his third album, Afro-Portuguese artist Scúru Fitchádu fuses ancestral wisdom with urban revolt, turning memory and militancy into a soundtrack for resistance.

O som da revolta

No seu terceiro álbum, o artista afro-português Scúru Fitchádu funde a sabedoria ancestral com a revolta urbana, transformando memória e militância em uma trilha sonora para a resistência.

Biya forever

As Cameroon nears its presidential elections, a disintegrated opposition paves the way for the world’s oldest leader to claim a fresh mandate.

From Cornell to conscience

Hounded out of the United States for his pro-Palestine activism, Momodou Taal insists that the struggle is global, drawing strength from Malcolm X, faith, and solidarity across borders.

After the uprising

Following two years of mass protest, Kenya stands at a crossroads. A new generation of organizers is confronting an old question: how do you turn revolt into lasting change? Sungu Oyoo joins the AIAC podcast to discuss the vision of Kenya’s radical left.

Redrawing liberation

From Gaza to Africa, colonial cartography has turned land into property and people into populations to be managed. True liberation means dismantling this order, not redrawing its lines.

Who deserves the city?

Colonial urbanism cast African neighborhoods as chaotic, unplanned, and undesirable. In postcolonial Dar es Salaam, that legacy still shapes who builds, who belongs, and what the middle class fears the city becoming.

Djinns in Berlin

At the 13th Berlin Biennale, works from Zambia and beyond summon unseen forces to ask whether solidarity can withstand the gaze of surveillance.