Fanon Forever
Fanon is your revolutionary's revolutionary. His life and work continue to inspire and empower a new generation of dreamers and fighters.
Fanon is your revolutionary's revolutionary. His life and work continue to inspire and empower a new generation of dreamers and fighters.
At this year's New York African Film Festival, we saw films united by key thematic concerns, some of them quite unexpected.
Africa is apparently hot in Hollywood, but can Hollywood be trusted with African stories?
What a documentary film on running can tell us about Ethiopia's development trajectory.
A documentary film takes Fanon's ideas out of the past and tracks the ways in which his ideas are resonating with today's young across the planet.
A commentary on how Egyptian society treats the abandoned, disabled, or those suffering from ailments and thus deemed a risk.
The film 'The Sound of Masks' explores dance, memory and the meaning of life, ancestry, culture and political struggle in postcolonial Mozambique.
Director Dare Olaitan’s Knock Out Blessing (2018), is nothing less than a meditation on rape culture.
The physical and psychic ruins of colonial mining practice in a small town in Liberia.
The erratic electricity supply in Nigeria is a metaphor for life there.
There is a long history of white artists representing black people in France, reproducing stereotypes and failing to capture the people they claim to represent.
Two sides of the same e-waste documentary.
The films of Robert Van Lierop and Margaret Dickson chronicled anti-imperial struggles in Mozambique.
The late Senegalese director Djibril Diop Mambety once said his films are not based on premeditation or planning.
The new comedy 'Matwetwe' hits all the right chords to tell a story about the current place and time of South African youth.
The documentary Welcome to Sodom gets most of its facts wrong about the so-called "largest electronic waste dump in the world."
A discussion with Nabil Ayouch, the French-Moroccan filmmaker, who captures the struggle for outsiders who exist in an oppressive society.
Sunshine Cinema is repurposing a tool of 20th century European colonial and neocolonial capitalist domination.
Med Hondo (1936-2019) was Morgan Freeman and Eddie Murphy in French. His first film premiered at Cannes in 1970. And in 1979 he wrote a manifesto: “What is the cinema for us?”
I have the privilege to fight, argue or board a plane when I feel like I've had enough. The vast majority of women on the continent do not have that option.