Jordan Peele’s ‘Get Out’ should be seen as part of the Afrofuturism genre, which offers physical and mental liberation through supernatural or non-realistic means.
The classic film, first premiered in 1991, is making a comeback. Not least: Beyoncé’s visual album ‘Lemonade’ borrows liberally from Julie Dash’s film. Why is the film so influential?
The Congolese cites the crime film, ‘Carlito’s Way,’ starring Al Paciono, as a project he wished he had made. You can see the inspiration in “Viva Riva,” his breakout film.
The legendary Nigerian filmmaker, Tunde Kelani is considered the bridge between the first generation of Nigerian filmmakers and Nollywood.
What do you when your 70 year old South African father wants to meet Robert Mugabe for his birthday. Make a film about it.
Essuman believes that confining any storyteller to labels like “African stories” is a disservice to the story and the one telling it.
The Nairobi-based filmmaker and musician aims to bring stories, pictures and sound together to create something immutable on the screen.
For Aduaka, cinema is important if it illuminates or resonates something that makes up the essence of this thing called human nature.
Okpako wants to show people as they see themselves but in a way that others can recognize themselves as well.
The Ivorian filmmaker wished he had made Akira Kurosawa’s Dreams, based on the filmmaker’s own dreams, when the fantastical infiltrates the real.
Ruhorahoza wished he made “Sans Soleil” by Chris Marker: “The film is a good example of the work of a filmmaker who has reached maturity and an artist who is truly free.”