Akomfrah’s films gives voice to the legacy of the African diaspora in Europe, and his experimental approach to narrative and structure helped pave the way for the re-emergence of the “essay film” today.
Julie Mehretu’s canvases depict a public zone dichotomous to that of their own surrounding, brimming with a sense of the life of a city which we can never really know or measure, whose politics is alive but oddly incubated.
In her work, Ellen Gallagher defiantly challenges linear perspective to redress what fellow African-American artist Theaster Gates has called “the African non-archive.”
Cristina De Middel self-published book “The Afronauts,” revisits the 1960s shortlived, abandoned project by Zambia’s government to send the first African astronauts to Mars
The best films of 2012 with African subjects as their focus: incredibly powerful and moving activist filmmaking that has documented the shifting politics of the continent.
How the humanitarian movement grew in close relation to the democratization of moving image technologies.
The documentary, “Soul Power,” captures a moment in African-American music during the 1970s: testing its boundaries in Kinshasa, Zaire.
Five filmmaking collectives from the African continent that are reinterpreting and reinvigorating notions of collaboration and distribution.
A film series in London explores what it would mean imbuing Africa with extra-terrestrial powers. We speak to the curators, Al Cameron and Nav Haq.
‘Dear Mandela’ questions whether the history of South Africa’s ruling party obscures its corruption and immoralities. And what kinds of movements it would take to challenge the ANC’s power head on.
A film about a Sudanese migrant to America explores a general fact of contemporary existence.
A remarkable amount of new films in recent months have used migration, detention and illegal sea crossings as their subject matter.
The film, “Come Back, Africa,” first released in 1959, challenged how white liberals imagined black people or tried to shape their struggles in South Africa.
Djibril Diop Mambéty’s film “Touki Bouki” is an excellent example of how the contemporary can be read through the (re)construction of myths and narratives from a collective memory.
A BBC reporter visits the old fields of southeast Nigeria, the site of massive exploitation by Shell Oil–in a helicopter provided by Shell.
Abderrahmane Sissako’s oblique suggestion of what a ‘socialist friendship’ might be in his first film, “October” (1993) set in a then-declining Soviet Union.