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- Dr. Soye opens a psychiatric clinic in Yaoundé, but as her professional career rises, her personal woes are only beginning.
- A political candidate becomes the focus of drama and rivalry between his wife and several mistresses.
- A revelatory encounter between an Evangelist sent on a mission and a prostitute.
- Portrait of fortitude and care centred on a valiant seamstress single mother in Douala.
- After a war outbreak in her village due to Cameroon's Anglophone-Crisis, a desperate woman seeks refuge in the forest. A cellphone is her only lifeline, as relies on a stranger's kindness to determine her fate.
- After an unusual occurrence in a sacred forest, a group of college students return home to find that something is eliminating them, one after another.
- Set in Kumba in South West Cameroon Sisters in Law follows Adultery, Rape and Abuse cases led by a Female Judge.
- Ekah is determined to go to school in a village of fishermen where a girl child's education is considered a taboo. Her drive to break this old adage gets her embroiled with her father, Solomon's past.
- In Jean-Pierre Bekolo's barbed political satire, an infectious hybrid of horror and science fiction, vampiric femmes fatales emasculate high-ranking Cameroonian officials through ancient rituals of Mevoungou.
- Ngando and Ndomé; are in love. Ngando wishes to marry Ndomé; but her family reminds him that the traditional dowry must be settled. Unfortunately, Ngando is poor and unable to fulfill the tradition. Ndomé; is pregnant and bears his child. According to the village tradition, she must take a husband, at least one who can afford to pay the dowry. The villagers decide that Ndomé; should marry Ngando's uncle, who has already three sterile wives. In despair, the young man kidnaps his daughter upon the day of the traditional feast. An African Romeo and Juliet story.
- A little distressed girl seeks to end the circle of abuse that claimed her mother's life. SYNOPSIS In an anglophone crisis setting, a Little distressed girl, witnesses the constant abuse of her mother, by her frustrated Military father SAMB which leads to her untimely death. Left alone with her father, depressed and in grief, this takes a toll on her studies. Instructed to take counseling sessions with the school counselor who she later discovers is about to fall into the same trap as her mother.
- In a west African Plantation in the 60s, A young determined girl must battle family and society to preserve her late father's legacy; A colonial plantation; amid Disagreements , betrayal and secrets. A dramatic musical , An allegory of Neo colonization.
- A young soldier returns home to find his mother dying of cancer and is forced to make desperate choices with both the police and the underworld only to find himself embattled in a global conspiracy of coercion and murder.
- Villagers advise an abusive husband to channel his rage in the army. There, he must come to terms with violent urges that have deep and painful roots.
- Drama based on the everyday lives of several Cameroonian families, as men and women try to resolve their different points of view and find lasting love together.
- Wanita (Weza Da Silva), is on a search for her identity. As it is often the case in Bekolo's work, the personal identity of the character is but the smallest manifestation of an identity struggle for an entire people, and the identity struggle of the film itself, of the process of filmmaking, which in this case is literally trying to form itself before our eyes. This is an "afrofuturistic/sci-fi" film, as the website describes it, taking place 150 years in the future when the human race is plagued by a terrible virus - "bad luck." The main character seemingly travels back and forth between the present and the future, and also carries on conversations with ancestors as well as with alternate selves, like Wanita Bis, who wants to be a television star. But the ultimate goal of the film is a philosophical and aesthetic exploration of the dividing line between fiction and reality, which is perhaps Bekolo's main artistic interest. Among the director's memorable lines on the topic, consider the following: "We shouldn't just be making movies, we should be changing reality." Naked Reality relies on a few visual tricks that support the material split between reality and fiction. The black and white creates a stylized atmosphere that, through sharp contrasts, aggressively suggests the future. It also brings to mind experimentation, but at a formal level, it points to a lack (through the implicit lack of color). And this is a film that is indeed missing various parts. The dualism at work here is reinforced in the director's choice of the superimposition. This is a transition effect used to link up two shots that overlap for a few seconds, but in this film the superimpositions last unusually long (by classical cinema conventions). A low-angle shot that travels under the trees returns several times to provide the characters with a kind of visual base on which to build another scene. Since the film lacks traditional sets, the visual splits and fills that void of materiality with itself, as it were. There are also several upside-down shots and a few edited through a negative filter - the reverse of the initial reality. Characters also speak to each other as they peek from behind a curtain, shot through a grainy filter. VLAD DIMA
- A clear-eyed look at how everyday life and the accompanying humdrum tasks go on despite the threat of violence at any moment.
- In The Colonial Misunderstanding Jean-Marie Teno sheds light on the complex and problematic relationship between colonization and European missionaries on the African continent. The film looks at Christian evangelism as the forerunner of European colonialism in Africa, indeed, as the ideological model for the relationship between North and South even today. In particular it looks at the role of missionaries in Namibia on the centenary of the 1904 German genocide of the Herrero people there. It reveals how colonialism destroyed African beliefs and social systems and replaced them with European ones as if they were the only acceptable routes to modernity. As Prof. F. Kangué Ewané says in the film: "I can forgive Westerners for taking away my land ...but not for taking away my mind and soul." Through an examination of the work of German missionary societies in Africa whose vocation was to bring Christianity - and by extension, European culture and European rule - to the heathens, Jean Marie Teno reveals The Colonial Misunderstanding.
- A documentary examining political repression in Cameroon, Central Africa.
- A motley crew of criminals collide with the law in the search for a priceless ruby.
- After her mother pressures her to find a man, a young career woman persuades a work colleague to pose as her boyfriend for a family event.
- Les Mots et les Choses de Mudimbe is a portrait of the Congolese intellectual V-Y Mudimbe, one of the most important living African philosophers and writers. Mudimbe was born in 1941 in Likasi, then the Belgian Congo and today the Democratic Republic of the Congo. At first he studied economics in Kinshasa, later getting his doctorate in Romance Philology in Paris. The linguistic genius - he speaks around 10 languages and can read in another 8 - has taught at a large number of prestigious universities in the world, in France, Belgium, Mexico, Canada, Great Britain, Israel, and Germany. In 1979 Mudimbe emigrated to the USA, where he is still Professor Emeritus at Duke University. In his work, which has received numerous awards, Mudimbe is concerned with the past and present of Africa between tradition and European influence, and with the processes of breakup and destruction caused by colonialism, missionary activity, and development aid. For instance, his novel Shaba deux, which came out in 1978, treats the horrible events under the Mobutu dictatorship. His novel Le Bel Immonde (1976) appeared in German in 1982 under the title Auch wir sind schmutzige Flüsse and in English in 1989 as Before the Birth of the Moon. His monographs The Invention of Africa (1988) and The Idea of Africa, in which he attempts to liberate Africa from its positioning as the 'absolute other' in Western thought, are considered classics and their significance is often compared to Edward Said's Orientalism. The film is an unusual portrait by one of the the most well-known filmmakers in Cameroon. An "introduction, abduction, seduction" (Dorothee Wenner) into Mudimbe's work and thought. Organized like a book, in which new chapters are continually being opened up, introduced each time with handwritten text panels, the film inserts itself into this highly complex thought, this biography that practically covers the whole globe. The house where Mudimbe lives becomes a structure that houses this life and thought, and thus the film. Only at the very end does the camera come to rest in a shot that can be taken as inviting. Precisely in its tenacity, the film unfolds into an architecture of alternating perspectives, it creates configurations, it traces assemblages that embody the knowledge and thought of Mudimbe: never conclusive, always in connection (Édouard Glissant would say rélations). The house, Mudimbe's stories and references, and thus the film are filled with books, photos - of family and companions and friends - memories, diplomas, countless objects, statues, and technical devices. Encompassing an entire century, but still open to everything, the old as well as the new. It's about Hegel, Derrida, Aristotle, about Hannah Arendt, Clifford Geertz, Pierre Bourdieu, and - as is clear from the title - about Foucault; about the Berlin Africa Conference, about the philosophical emergence of thinking about 'Rasse' during the German colonial period Rwanda/Burundi. About African philosophers and a critical investigation of occidental production of knowledge. And what it's about over and over again is: how knowledge arises, is taught, how it is conveyed. Mudimbe creates fascinating cross connections, a way of 'reading,' of analyzing the past and the present, constantly critical, constantly curious. His own private histories also come into play, as the son of parents from different 'ethnicities,' educated by the Benedictines (a comparison of different religions also comes up). His thought, his teaching, his research is not an end in itself, "but he also means himself when he says that it's actually better 'for the system' if philosophers are dead - otherwise they cause trouble." (Dorothee Wenner) Bekolo once again shows himself to be a delightful portrait filmmaker. Like in his magnificent - radically short - portrait of Djibril Diop Mambéty (La grammaire de ma grand-mère, F 1996), he creates a mise-en-scène from speech and the ever present possibility of contradicting it, of the "possible encounters ... with the question of what film can say and how it can narrate something together with someone, with other things and people" (Brigitta Kuster). An unusual film, as fascinating as its object/subject, opulent, sensitive, clever, and radical. Another station of delightful postcolonial, cosmopolitan filmmaking. (Nanna Heidenreich)
- Minga is an orphaned girl living with her stepmother Mami Kaba and her stepsister Abena. One day, when she was washing dishes in the river, she accidentally broke a spoon. A furious Mami Kaba then chased her away from the house, asking her to find the only identical spoon hidden by her late mother. A adventurous journey then begins for Minga in the forest.
- A once happily married couple struggling for answers after the birth of their only child leaves it's mother distressed and withdrawn. What might change their lives for the better. Therapy.
- Domé a 35 year old woman from Gabon is intercepted at the airport in Brussels. There seems to be a problem with her papers. She is subjected to a long interrogation. Will she achieve her goal and get accepted on the Belgian territory?
- An African diplomat who has returned to his native country after a long stay in Europe realizes that perhaps he has assimilated too much white culture.
- In the heart of the equatorial forest in Africa, a king is poisoned by one of his subjects. On the orders of the oldest of the notables, an old seer is called for rescue. He suggests to two close aids of the palace to go to the sacred cave in under seven days, to look for an antidote capable of curing. A fight of interest leads to chaos in the kingdom of Mabunos disrupts all expectations.
- A university lecturer's return home from the US to Ghana is the starting point for this interweaving of journeys. The film deals with motherhood, sisterhood and group identity, exile, loss, trauma and the pull of home, choices and sacrifices and the existential quest.
- Arah was raped while hawking. She could not consult a doctor because of lack of enough finance. She was later assisted by a health worker who took her to the hospital were she was offered medical attention.
- When they meet a talented girl with no schooling, a teacher and young scout challenge tradition in a primal village, when the girl is chosen as the new wife of the village.
- Filomena decides to travel to Douala to startup her business. She knows no one but her friend's address, Rosa. Rosa is surprised by her presence, however she has no choice after all Filo has nowhere else to go. Filo talks to the landlord and they come to a compromised for her to use the entrance to the landlord's compound from where Filo shall be working here call box. While there, Filo meet several people including Papi and Godwin who later fall in love with her, Then Mr and Mrs Siewe who later become her benefactor. Filo is met with several difficult choices along her career working in the call box. She is strong, funny and ambitious.
- A successful lawyer finds herself entangled in a dangerous scheme and must decide whether to obey her principles or her passions.
- A president for 42 years in power discretely left the palace on the eve of an important electoral meeting. This disappearance - closely monitored by the media and the power contenders and even the prisoners - opens the war of successions between the different actors. The film takes shape around activism, but without losing its light touch. It asks questions about the responsibility of those in power. THE PRESIDENT is an allegory about the men who run Africa. We know they all like to see themselves as wild beasts-panther, crocodile, lion- if not as Gods of Africa. THE PRESIDENT tries to clear a place for the film in the arena of African politics, where truth is sometimes stranger than fiction.