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Delwende

S. Pierre Yameogo, Burkina Faso, 2005

Sixteen-year-old Pougbila is an exuberant dancer, which causes her peers to remark cattily on her seductive moves. At the same time a village child dies of unexplained causes, Pougbila tells her mother Napoko that she's been raped. However, she refuses to reveal the perpetrator. As child deaths mount, the villagers speculate that a witch is behind the tragedies. Under the pretext of protecting his daughter, Pougbila's father hastens to marry her to a nearby villager, ignoring Napoko's objections. After Pougbila leaves, village elders call soothsayer to find the witch who is causing the child deaths. The village soon becomes convinced that Napoko is the evil one and she's chased out of town. Forced to wander the countryside, Napoko seeks refuge in one of the shelters for women accused of witchcraft. Pougbila hears of her mother's fate and sets out to find her and confront the village elders with the truth.
Sixteen-year-old Pougbila is an exuberant dancer, which causes her peers to remark cattily on her seductive moves. At the same time a village child dies of unexplained causes, Pougbila tells her mother Napoko that she's been raped. However, she refuses to reveal the perpetrator. As child deaths mount, the villagers speculate that a witch is behind the tragedies. Under the pretext of protecting his daughter, Pougbila's father hastens to marry her to a nearby villager, ignoring Napoko's objections. After Pougbila leaves, village elders call soothsayer to find the witch who is causing the child deaths. The village soon becomes convinced that Napoko is the evil one and she's chased out of town. Forced to wander the countryside, Napoko seeks refuge in one of the shelters for women accused of witchcraft. Pougbila hears of her mother's fate and sets out to find her and confront the village elders with the truth.
Duration
86 minutes
Language
OV Mooré
Subtitles
German, French, English
Video Quality
1080p
Available in
Worldwide
Moi et mon blanc (2004)
S. Pierre Yameogo
Burkina Faso
92′
An african student in Paris needs to work by night to finance the rest of his studies. By coincidence he gets a lot of money and turns back home to Burkina Faso with his french friend - but life is not that easy anywhere. Still watching how it is to be a stranger here or there can be quite funny.
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Sankofa (1993)
Haile Gerima
Burkina Faso
119′
Powerful, moving and highly acclaimed, director Haile Gerima’s Sankofa is a masterpiece of cinema that has had a transformative impact on audiences since its release in 1993. This empowering film tells a story of slavery and of the African Diaspora from the perspective of the enslaved, challenging the romanticizing of slavery prevalent in American culture. Sankofa was developed from 20 years of research into the trans-Atlantic slave trade and the experiences of African slaves in the New World. The film represents complex characters and empowering moments of resilience that assert humanity in the face of subjugation. Unlike Hollywood’s depiction of slavery, Gerima presents the often suppressed history of slave resistance and rebellion and represents the enslaved as agents of their own liberation. The story begins with Mona (Oyafunmike Ogunlano), an African American model on a fashion shoot at the former slave castles in Cape Coast, Ghana. Mona undergoes a journey back in time and place to a slave plantation in North America where she becomes Shola, a house slave, and experiences the suffering of slavery firsthand. In becoming Shola and returning to her past culture and heritage, Mona is able to recover her lost slave identity and confront her ancestral experience. Shola’s interactions with her fellow slaves are marked with humanity and dignity, most notably with Shango (Mutabaruka), a rebellious field slave, and Nunu (Alexandra Duah), one of the few slaves to remember her life in Africa before being stolen by Europeans. The film’s narrative structure follows the concept of "Sankofa," an Akan word that signifies the recuperation of one’s past in order to comprehend the present and find one’s future. Allyson Nadia Field, ucla
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