10 African films to watch out for, N°2

‘Grand comme le Baobab’ (“Tall as the baobab tree”) is a film told through the voice of Coumba (in Pular language), who tries to avoid her 11-year-old sister from being sold into marriage to settle a family debt in rural Senegal; shot mostly with a local cast.

 

Then there’s two films for which we don’t have trailers.

Ivorian actor Isaach de Bankolé (his breakthrough role was in Claire Denis’s ‘Chocolat’) plays a Rotterdam scientist returning to “his African roots” in South African director Rudolf Buitendach’s ‘Where The Road Runs Out’. Some location video here and here.

‘Small Small Thing’, a documentary about widespread rape of young girls in Liberia.

Director Paul Haggis is producing a feature film about Hugh Masekela’s life; the director will be South African Mukunda Michael Dewil, whose latest film, ‘Vehicle 19’ (shot in Johannesburg) stars Paul Walke. Also an excuse to post Nadine Hutton’s impressive photography of Hugh Masekela.

The promo for ‘Oblivion’, a yet to be finished Ethiopian feature about “telafa”, a practice whereby young women are abducted for marriage. Here’s the fundraising page.

http://www.youtube.com/watch?v=1XMG88ji4I4

The documentary film ‘Stolen Seas’ about Somali piracy won ‘Best Picture’ at the Locarno Film Festival earlier this year.

Here’s an interview with the director.

Shortly after Ben Ali fled Tunisia, the first sit-in began. ‘Fallega 2011’ is a documentary by Rafik Omrani.

Finally, three films projects that are in their initial stages:

‘Night Has Fallen’, a new film by Akin Omotoso whose ‘Man on Ground’ I reviewed here.


‘The Boda Boda Thieves’ by Ugandan Donald Mugisha will be shot later this year.


And Jonathan Wacks will be putting South African author Andrew Brown’s bestseller ‘Coldsleep Lullaby’ to film.

We’ll try to turn these ‘Films to watch out for’ posts into a regular feature. See the first part here.

Further Reading

Kenya’s vibe shift

From aesthetic cool to political confusion, a new generation in Kenya is navigating broken promises, borrowed styles, and the blurred lines between irony and ideology.

Africa and the AI race

At summits and in speeches, African leaders promise to harness AI for development. But without investment in power, connectivity, and people, the continent risks replaying old failures in new code.

After the uprising

Years into Cameroon’s Anglophone conflict, the rebellion faces internal fractures, waning support, and military pressure—raising the question of what future, if any, lies ahead for Ambazonian aspirations.

In search of Saadia

Who was Saadia, and why has she been forgotten? A search for one woman’s story opens up bigger questions about race, migration, belonging, and the gaps history leaves behind.

Binti, revisited

More than two decades after its release, Lady Jaydee’s debut album still resonates—offering a window into Tanzanian pop, gender politics, and the sound of a generation coming into its own.

The bones beneath our feet

A powerful new documentary follows Evelyn Wanjugu Kimathi’s personal and political journey to recover her father’s remains—and to reckon with Kenya’s unfinished struggle for land, justice, and historical memory.

What comes after liberation?

In this wide-ranging conversation, the freedom fighter and former Constitutional Court justice Albie Sachs reflects on law, liberation, and the unfinished work of building a just South Africa.

The cost of care

In Africa’s migration economy, women’s labor fuels households abroad while their own needs are sidelined at home. What does freedom look like when care itself becomes a form of exile?

The memory keepers

A new documentary follows two women’s mission to decolonize Nairobi’s libraries, revealing how good intentions collide with bureaucracy, donor politics, and the ghosts of colonialism.

Making films against amnesia

The director of the Oscar-nominated film ‘Soundtrack to a Coup d’Etat’ reflects on imperial violence, corporate warfare, and how cinema can disrupt the official record—and help us remember differently.