Deep in the heart of the mountainous kingdom of Lesotho, the arrival of new settlers has upset the balance of power. These economic migrants from China have called old laws and gods into question, and in the uncertainty over what new way of life will emerge, only one rule holds true: eat or be eaten.
“Days of Cannibalism” is the feature debut of documentary filmmaker Teboho Edkins. Produced by France’s KinoElektron, South Africa’s Day Zero Film, and the Netherlands’ Keplerfilm, it world premiered in the Panorama section of the Berlin Film Festival. World sales are being handled by Indie Sales.
Edkins was drawn to his subject around a decade ago, as China’s growing investment in Africa was prompting skepticism about what many commentators saw as a new era of colonialism on the continent. The director, who grew up partly in Lesotho, soon befriended a Chinese man who...
“Days of Cannibalism” is the feature debut of documentary filmmaker Teboho Edkins. Produced by France’s KinoElektron, South Africa’s Day Zero Film, and the Netherlands’ Keplerfilm, it world premiered in the Panorama section of the Berlin Film Festival. World sales are being handled by Indie Sales.
Edkins was drawn to his subject around a decade ago, as China’s growing investment in Africa was prompting skepticism about what many commentators saw as a new era of colonialism on the continent. The director, who grew up partly in Lesotho, soon befriended a Chinese man who...
- 3/6/2020
- by Christopher Vourlias
- Variety Film + TV
The 70th edition of the Berlin International Film Festival is now in the books. The jury, featuring Jeremy Irons, Bérénice Bejo, Bettina Brokemper, Annemarie Jacir, Kenneth Lonergan, Luca Marinelli, and Kleber Mendonça Filho, shared their award winners–and now here’s a look at what we admired the most during the festival.
Featuring a fair bit of cross-over, check out our favorites below and return for more coverage (including reviews and interviews). Also, be sure to follow us on Twitter for updates as these films get distribution and release dates.
Dau. Natasha
It is no use of hyperbole to suggest that Dau. Natasha already looks like one of the most provocative art films ever made. The first strictly theatrical feature to be released from Ilya Khrzhanovsky’s gargantuan, unprecedented Dau project (12 other films were shown at an immersive exhibition in Paris last year), it offers the viewer a kind of...
Featuring a fair bit of cross-over, check out our favorites below and return for more coverage (including reviews and interviews). Also, be sure to follow us on Twitter for updates as these films get distribution and release dates.
Dau. Natasha
It is no use of hyperbole to suggest that Dau. Natasha already looks like one of the most provocative art films ever made. The first strictly theatrical feature to be released from Ilya Khrzhanovsky’s gargantuan, unprecedented Dau project (12 other films were shown at an immersive exhibition in Paris last year), it offers the viewer a kind of...
- 3/5/2020
- by The Film Stage
- The Film Stage
Two cultures clash as a wave of anti-immigrant rhetoric spreads over a country in Teboho Edkins’ profound documentary Days of Cannibalism, which focalizes the China-Africa relationship in rural Lesotho, an enclaved country surrounded by South Africa. Utilizing an observational vérité approach, Days might be light on context, but even within these self-imposed limitations, the film reveals both the universality of cultural conflict and the highly specific economy of the Basotho people.
Framed around the changing socio-economics of the region, Edkins’ film moves from subject to subject as the increase in the Chinese immigrant workforce has threatened to recontextualize the traditionally trade-based economy. The system is moving from bartering to monetary exchange as a direct result of a Chinese influx. In changing this system, the Basotho have launched a socio-political protest in an attempt to denigrate the Chinese.
At the height of this conflict is the ideological differences between uses of livestock,...
Framed around the changing socio-economics of the region, Edkins’ film moves from subject to subject as the increase in the Chinese immigrant workforce has threatened to recontextualize the traditionally trade-based economy. The system is moving from bartering to monetary exchange as a direct result of a Chinese influx. In changing this system, the Basotho have launched a socio-political protest in an attempt to denigrate the Chinese.
At the height of this conflict is the ideological differences between uses of livestock,...
- 3/3/2020
- by Christian Gallichio
- The Film Stage
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.