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.
Madame Brouette by Senegal, 2002
,Fofo Means Father by Ghana, 2023
,L’Escale (The Stopover) by DR Congo / Belgium, 2022
,Le Cri de La Mer (The Cry of The Sea) by Senegal, 2008
,Ainsi Meurent Les Anges (And So Angels Die) by Senegal, 2000
,Tableau Ferraille by Senegal, 1997
,Ça Twiste à Popenguine (Twisting in Popenguine) by Senegal, 1994
,You Hide Me by Ghana, 1970
,When Women Speak by Ghana, 2022
,Independência (Independence) by Angola, 2015
,Uprize! by South Africa, 2017
,Letters to the Future features a selection of Southeast Asian films that offer contemporary commentaries. These letters, written from our standpoint in a time when recording devices have become more accessible and democratic, serve as reflections and trajectories of hopes that were once full of promise but have since diverged in different directions. This collection of films acts as mirrors to a Southeast Asia that was once a landscape to behold—a region of tigers, garudas, elephants, fertile soil, volcanoes, and vast forests, where populations were more closely connected to one another. Through these small yet profound narratives, the films capture the essence of a region that has witnessed both unity and fragmentation.
To Pick A Flower by Philippines, 2021
,Lumapit Sa Akin, Paraiso (Come to Me, Paradise) by Philippines / Canada, 2017
,The space of Post-Reformasi Cinema in Indonesia is complex and enigmatic. It serves as a reflection of the disparate ideologies, conflicts, regimes, and the fragmented nature of Indonesia’s historical narratives. With the advent of more accessible, affordable, and portable cameras, filmmakers are now able to explore and connect the diverse threads of Indonesia’s multifaceted histories, offering new perspectives on its evolving identity.
Cerita Dari Pulau Karaka (A Story From Karaka Island) by Indonesia, 2014
,Welu de Fasli (Candlenut’s Fasli) by Indonesia, 2017
,Sugiharti Halim by Indonesia, 2008
,Golden Memories (Petite Histoire of Indonesian Cinema) by Indonesia, 2018
,Mayday! May Day! Mayday! by Indonesia, 2022
,Sedap Malam (Agave Amica) by Indonesia, 2022
,Maryam by Indonesia, 2014
,Mangga Golek Matang di Pohon (The Mangoes) by Indonesia, 2012
,Saya di Sini, Kau di Sana (A Tale of the Crocodile’s Twin) by Indonesia, 2022
,Segudang Wajah Para Penantang Masa Depan (The Myriad Faces Of The Future Challengers) by Indonesia, 2022
,Di Balik Cahaya Gemerlapan (Sang Arsip) (Behind the Flickering Light (The Archive)) by Indonesia, 2013
,Naga yang Berjalan di Atas Air (The Dragon Who Walks On The Water) by Indonesia, 2012
,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.
বাগানিয়া / Baganiya (Garden of Memories) by Bangladesh, 2019
,Turup (Checkmate) by India, 2017
,Movements of Migration by UK, 2022
,The Land of My Forefathers by Pakistan, 2021
,Sindhustan by India, 2019
,Trans Kashmir by India, 2022
,Eye Test by India, 2017
,Blood Earth by India, 2013
,A Walnut Tree by Pakistan, 2015
,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.
Stud Life by UK, 2012
,Difficult Love by South Africa, 2010
,I Am Samuel by Kenya, 2020
,How Not to Date While Trans by USA, 2022
,Umunthu by Malawi, 2013
,The Art of Sin by Sudan / Norway, 2020
,Ìfé by Nigeria, 2020
,Country Love by Nigeria, 2022
,Forbidden Fruit by Zimbabwe / Germany, 2001
,Tchindas by São Vicente, Cape Verde, 2015
,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.
Días de Luz (Days of Light) by Costa Rica / El Salvador / Guatemala / Honduras / Nicaragua / Panama, 2019
,Ibegwa by Panama, 2021
,El Amparo by Venezuela, Colombia, 2016
,Los Lobos (The Wolves) by Mexico, 2019
,Sola (Alone) by Peru, 2023
,Iwianch, el Diablo Venado (Iwianch, the Devil Deer) by Ecuador, 2020
,Wiñaypacha (Eternity) by Peru, 2017
,Lo Que La Tierra Recuerda (What The Soil Remembers) by Ecuador / Sudáfrica, 2023
,What The Soil Remembers by Ecuador, South Africa, 2023
,بين موتين / Bayna Mawtayn (Between Two Deaths) by Occupied Golan Heights / Syria / Palestine, 2015
,Soundless Dance by France, Sri Lanka, 2019
,Slingshot Hip Hop by Palestine, 2008
,Al Otro Lado de La Niebla (Behind the Mist) by Ecuador, 2023
,Khartoum Offside by Sudan, Norway, Denmark, France, 2019
,Caméra d’Afrique (Twenty Years of African Cinema) by Tunisia, 1983
,La Saison des Hommes (The Season of Men) by Tunisia, 2000
,Monangambeee by Algeria, 1969
,Rekava by Sri Lanka, 1956
,La Noire De… by Senegal, 1966
,Borom Sarret by Senegal, 1963
,Tajouj by Sudan, 1977
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