SAT 13. 07. 15 h
A small journey through contemporary video filmmaking in sub-Saharan Africa that eschews the support of falsely benign foreign funding. But no program, even the smallest, without an exception that puts things into perspective: Initiation (2016) was realized with support of a gallery in Frankfurt/Main by Teboho Edkins who here uses memories from his Lesotho childhood to offer glimpses at a Mosotho initiation ritual. From rural Southern Africa we move to the continent’s East: Kenya, the excitingly urban land-and soul-scape of its capital: Nairobi, with William Owusu’s Me First(2005), a casually sweet ‘n sad tale about life after a relationship’s end. And we shall stay in the East but change the country cum cinematic language: Peter Tukei Muhumuza’s animation Kengere (2010) was deemed politically so explosive in Uganda that it got shelved, with the director leaving home for several years… The last film in our selection leads us to Africa’s West: Nigeria, home of the world’s biggest fiction feature industry: Nollywood — a production culture the three mavericks who joined forces for the omnibus Visions: An Anthology of Short Films set out to revolutionize! A program of surprises and challenges!
The program is curated by Olaf Möller, member of this year’s Domestic Competition Jury, who will also hold a lecture on African cinema.
High in the mountains of Lesotho, Mosaku is anxiously awaiting the return of his older brother from an initiation ceremony.
The film shows how masculine subjectivity unravels at the end of a relationship in a modern city.
In 1989, Ugandan soldiers accused 69 people of being rebels and locked them in train wagons, then set fire to them. Kengere tells the story of a cyclist who returns to his home village in search of a tape that contains evidence of the crime.
Consisting of three shorts, Shaitan, Brood, and Bruja, the films all take an introspective approach to the exploration of relationships, all baring some form of conflict.
“Shaitan” by Abba Makama, a lady confronts her constant fear of her boyfriend through a recurrent dream. In “Brood”, by Michael Gouken, a breakup conversation is framed with remarkable visual expertise, and in “Bruja” by CJ Feiry Obasi, a witch among her coven has to make a quick decision.