In the boundary breaking video with music by Petite Noir, directed by Travys Owen with art direction from the artist’s muse, Rochelle Nembhard, we see a vision of the ’Noirwave’ Africa of now, in all it’s vast, rich and raw glory. Director Travys Owen elaborated on the use of the tribe motif: ’We wanted to make four distinct ’tribes’ of people. This allowed us to create thevisual journey that Yannick is on, running through all of these different landscapes and allowed us to create these rich scenes which were very different from each other.“ (Text excerpt from I-D.Vice.com).
Country: South Africa
“Ngiwunkulunkulu” means “I am God.” Jojo Abot says the title serves as “a reminder of our identity as Godly beings with supernatural potential.” She continues, “It is also for me, a release of anger and frustration towards myself and the ‘white man.’ A journey to clarity and purpose. An honest expression of my desires for my people, and a reminder of the divine nature of the feminine.” (Exerpt from Okayafrica).
Three generations of Muslim women speak freely and candidly about their sexual experiences, relationships, and preferences. An intricate examination of emotional inheritance, women’s sexuality, religion, and the matrilineal bond.
Over 100 striking miners were murdered in the 2012 Marikana Massacre, the most deadly intervention of South African forces since 1960. Today, we witness the women of the community continuing the protest by staging a play about the event in a quest for healing and for justice.
Two girls are driving home in the middle of a deserted industrial area when their car gets hit by a stone. Their different reactions to the incident ignites a series of misunderstandings