1. ReginaFriday, 27 October 21:00

  2. ReginaSunday, 29 October 15:00

PUMZI

Kenya’s first science fiction film imagines a dystopian future 35 years after water wars have torn the world apart. East African survivors of the ecological devastation remain locked away in contained communities, but a young woman in possession of a germinating seed struggles against the governing council to bring the plant to Earth’s ruined surface. The director Waluri Kahiu researched classic 1950s films to create her movie’s futuristic sets, combining the processes of matte painting and rear-screen projection with indigenous African artwork.

BEST

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).

FINDING FANON, PART 2

This second part of a digital trilogy, is shown mostly on the internet and in exhibition spaces. It uses the Grand Theft Auto 5 in-game video editor. The Finding Fanon series is inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation.

JOJO ABOT – GOD AMONG MEN + MARCHING (NGIWUNKULUNKULU)

“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).

THE ANCESTORS CAME

The film celebrates the life of artist and writer Faith Ringgold and the influence of her childhood in Harlem on her work. Faith Ringgold’s posters “All Power to the People” (1970) and “United States of Attica” (1971-2) are currently (12 July – 22 October) on display in the Tate Modern exhibition “Soul of A Nation: Art in the Name of Black Power”.

AFRO PUNK GIRL

In a dystopian, post-apocalyptic Britain, a young punk discovers true rebellion when she meets a radical old dandy.

DJULA DANCE

Coming straight from the imagination and machines of Senegalese producer Ibaaku, who pieced together this afro-futuristic opus as the soundtrack to Selly Raby Kane’s Alien Cartoon fashion show and art performance.

HASAKI YA SUDA

t is the year 2100. The world is engulfed in chaos and war and its residents are consumed by terrible hunger. Three warriors: noble Wurubenba, Shandaru, who wants to avenge his father’s death, and Kapkaru craving for power, will face one another in a fight for life and death. The characters speak in a reinvented lingala.

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