curated by Ronnie Vitalia
Afro Queer Voices

Afro Queer Voices focuses on Black Queer visibility of African LGBTQIA+ filmmakers or their protagonists reclaiming their narratives.

This library section presents engaging images of African queerness and gender fluidity highlighting the oppression experienced by LGBTQIA+ individuals on the African continent and beyond. With this program, we invite audiences to immerse themselves in the complexities of Black Queer love and explore the controversies around homosexuality and Queerness in different African communities. The films navigate between Queer rights, politics, and culture, as well as internal suffering, abandonment, and the struggle for acceptance.

With Afro Queer Voices, we learn that the forms of resistance invented by Queer communities, especially those experiencing compounded oppression, vary. As we witness the pain of loss due to family abandonment, hate crime, violence, and psychological abuse, young African Queers escape without a known destination and slim chances of survival. Resistance becomes an underground life of alternative families and kin as support networks aiming to provide shelter, comfort, and safety to those expelled from their original homes.

The program aspires to navigate issues of social injustice and politics, underlining that the global Afro Queer community is not only an integral part of Queer cultures that require historical acknowledgment, but also a significant cornerstone of global feminist social movements.

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Stud Life by Campbell X, UK, 2012

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Difficult Love by Zanele Muholi, Peter Goldsmid, South Africa, 2010

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I Am Samuel by Peter Murimi, Kenya, 2020

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How Not to Date While Trans by Nyala Moon, USA, 2022

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Umunthu by Mwizalero Nyirenda, Malawi, 2013

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The Art of Sin by Ibrahim Mursal, Sudan / Norway, 2020

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Ìfé by Uyaiedu Ikpe-Etim, Nigeria, 2020

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Country Love by Wapah Kelechi Ezeigwe, Nigeria, 2022

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Forbidden Fruit by Sue Maluwa Bruce, Beate Kunath,Yvonne Zückmantel, Zimbabwe / Germany, 2001

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Tchindas by Pablo García Pérez de Lara, Marc Serena, São Vicente, Cape Verde, 2015

curated by Fanny Huc
Fresh Voices

Thanks to the democratization of production resources and digital communication channels, new voices are contributing to a cinema in Latin America that challenges hegemonic structures, criticizes the colonizing eye, and yields new narratives proposed by female, indigenous, black, mixed, queer, diasporic people, and others. Despite the vastness of the films’ contents, a deep humanity can be found within the resilience of these nations.

In this collection, we give prominence to new voices that express themselves freely and become the subject of their own images, while exploring different ways of thinking about Latin American experiences. Dreams and intimacies often collide with violence, abandonment, or impositions, but share the unwavering desire for a better future.

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Días de Luz (Days of Light) by Gloria Carrión Fonseca, Julio López Fernández, Mauro Borges Mora, Enrique Pérez Him, Sergio Ramírez, Costa Rica / El Salvador / Guatemala / Honduras / Nicaragua / Panama, 2019

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Ibegwa by Duiren Wagua, Panama, 2021

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El Amparo by Rober Calzadilla, Venezuela, Colombia, 2016

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Los Lobos (The Wolves) by Samuel Kishi Leopo, Mexico, 2019

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Sola (Alone) by Seneca Dávalos, Peru, 2023

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Iwianch, el Diablo Venado (Iwianch, the Devil Deer) by José Cardoso, Ecuador, 2020

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Wiñaypacha (Eternity) by Óscar Catacora, Peru, 2017

curated by Abhishek Nilamber
To Miss The Woods

Cinema might have originated in the West, but in South Asia it is domesticated and venerated. Bolly, Lolly, Tolly, Kolly, and other woods of the region have thrived, conforming to and even amplifying the inherent social hierarchies and cultural hegemonies of the region, namely caste, class, religion, languages, clan, aesthetics, and geography, among others. Yet the cinematic expressions that did not conform to this hegemony were bereaved of a wider exposure.

To Miss The Woods invites the audience to literally ‘miss the woods for the trees’ and explore the diverse cinematic flora that has emerged beyond the defined woods. We present to you a bouquet of films from South Asia that are a labor of love and are made with care for community rather than the market. We hope that this selection will inspire and challenge the audience to reimagine the South Asian cinemascape.

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The Land of My Forefathers by Irfan Noor K, Pakistan, 2021

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Sindhustan by Sapna Moti Bhavnani, India, 2019

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Trans Kashmir by S.A. Hanan, Surbhi Dewan, India, 2022

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Eye Test by Sudha Padmaja, India, 2017

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Blood Earth by Kush Badhwar, India, 2013

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A Walnut Tree by Ammar Aziz, Pakistan, 2015

curated by Forum Lenteng
Post-Reformasi Cinema of Indonesia

Now that the camera is handier, cheaper, and more accessible, we can connect the pieces of Indonesia’s historiographies.

Post-Reformasi Cinema in Indonesia is an enigmatic space that reflects the incongruous assemblage of ideologies, wars, regimes, and of incomplete writings on Indonesia’s historiographies.

This is the cinema of a movement or a moving camera towards the archipelago, with big ideas in the hands of anxious citizens.

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Mayday! May Day! Mayday! by Yonri Revolt, Indonesia, 2022

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Sedap Malam (Agave Amica) by Gembong Nusantara, Indonesia, 2022

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Maryam by Sidi Saleh, Indonesia, 2014

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Mangga Golek Matang di Pohon (The Mangoes) by Tonny Trimarsanto, Indonesia, 2012

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Saya di Sini, Kau di Sana (A Tale of the Crocodile’s Twin) by Taufiqurrahman Kifu, Indonesia, 2022

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Segudang Wajah Para Penantang Masa Depan (The Myriad Faces Of The Future Challengers) by I Gde Mika & Yuki Aditya, Indonesia, 2022

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Di Balik Cahaya Gemerlapan (Sang Arsip) (Behind the Flickering Light (The Archive)) by Hafiz Rancajale, Indonesia, 2013

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Naga yang Berjalan di Atas Air (The Dragon Who Walks On The Water) by Otty Widasari, Indonesia, 2012

curated by Jacqueline Nsiah
Movements Towards Liberation

In this curated library section, the films deal with different forms of human movements that are relevant to the time in the set African country. The films use the camera as a tool to unearth stolen objects from Africa, document the women that fought vehemently for women’s rights, reconstruct historic events, as well as to capture memories of colonization and the subsequent consequences of neo-colonial struggles that force many young people to risk their lives to cross the Sahara desert to get to Europe.

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You Hide Me by Nii Kwate Owoo, Ghana, 1970

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When Women Speak by Aseye Tamakloe, Ghana, 2022

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Independência (Independence) by Fradique, Angola, 2015

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Uprize! by Sifiso Khanyile, South Africa, 2017

by Cinelogue
Selected Titles
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Al Otro Lado de La Niebla (Behind the Mist) by Sebastián Cordero, Ecuador, 2023

Khartoum Offside
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Khartoum Offside by Marwa Zein, Sudan, Norway, Denmark, France, 2019

Caméra d'Afrique
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Caméra d’Afrique (Twenty Years of African Cinema) by Férid Boughedir, Tunisia, 1983

La Saison des Hommes – Moufida Tlatli
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La Saison des Hommes (The Season of Men) by Moufida Tlatli, Tunisia, 2000

programs
With our curated programs, Cinelogue mainly focus on the revival of cinema that has left groundbreaking marks in the arthouse world and embed them into contemporary discourses, while making them accessible to broader and more global audiences.
Monangambeee – Sarah Maldoror
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Monangambeee by Sarah Maldoror, Algeria, 1969

Rekava – Lester James Peries
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Rekava by Lester James Peries, Sri Lanka, 1956

La Noire De... – Ousmane Sembène
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La Noire De… by Ousmane Sembène, Senegal, 1966

Borom Sarret – Ousmane Sembène
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Borom Sarret by Ousmane Sembène, Senegal, 1963

Tajouj – Gadalla Gubara
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Tajouj by Gadalla Gubara, Sudan, 1977

English