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poster

71

24

6.7

/242/

71

/6/

61

/7/

3.4

/320/

83

/6/

78

/14/

Nigeria's film industry, Nollywood, is the third-largest in the world--an unstoppable economic and cultural force that has taken the continent by storm and is now bursting beyond the borders of Africa. "Nollywood Babylon" is a feature documentary detailing the industry's phenomenal success. Propelled by a booming 1970s soundtrack of African underground music, the movie presents an electric vision of a modern African metropolis and a revealing look at the powerhouse that is Nigerian cinema.

poster

?

7.7

/35/

70

/1/

50

/1/

This documentary explores the diverse key players contributing to the success of the second-largest film industry in the world: Nigeria's Nollywood.

poster

?

5.2

/7/

40

/1/

New historical documentary on the largely unknown period of South African B-movies, and the later cinematic identity of the nation that was established under the apartheid regime.

poster

69

?

7.1

/187/

67

/7/

70

/8/

3.5

/458/

91

/23/

41

68

/8/

3.0

Meet Ousmane Sembene, the African freedom fighter who used stories as his weapon.

poster

?

7.2

/80/

40

/2/

60

/3/

Camera de Afrique Is a 1983 documentary. Acclaimed Tunisian filmmaker Férid Boughedir wrote, produced and directed this documentary that recounts 20 years in the history of African cinema through interviews and excerpts from 18 films.

poster

61

?

7.4

/62/

10

/1/

90

/2/

3.6

/223/

Senegalese documentary about the country's most famous film-maker - Ousmane Sembène. The groundbreaking director explains his philosophy, politics and hopes for the future of African cinema.

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10

/1/

N/A

poster

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Exploring the extraordinary contributions of women filmmakers from Africa and the diaspora, Beti Ellerson’s engaging debut intersperses interviews with such acclaimed women directors as Safi Faye, Sarah Maldoror, Anne Mungai, Fanta Régina Nacro and Ngozi Onwurah with footage from their seminal work. With power and nuance, Ellerson also confronts the thorny question of cultural authenticity by revisiting the legendary 1991 FESPACO (Pan-African Festival of Cinema and Television of Ouagadougou), in which diasporian women were asked to leave a meeting intended for African woman only. This film is both a valuable anthology and a fitting homage to the pioneers and new talents of African cinema.

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