{"id":85,"date":"2009-12-01T14:28:54","date_gmt":"2009-12-01T22:28:54","guid":{"rendered":"http:\/\/cfaf.pcc.edu.s67522.gridserver.com\/?page_id=85"},"modified":"2011-06-07T17:26:11","modified_gmt":"2011-06-08T01:26:11","slug":"filmography","status":"publish","type":"page","link":"https:\/\/www.africanfilmfestival.org\/2011\/resources\/filmography\/","title":{"rendered":"Filmography"},"content":{"rendered":"

Here are all of the films that have been shown at CFAF each year. The films with asterisks (*) are available at the PCC Library<\/a>.\u00a0The\u00a0African Film Collection<\/a><\/strong> is a complete listing of films available in the PCC library catalog. If you are not a PCC student, inquire about a guest library card<\/a>.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
<\/td>\nFILM<\/strong><\/th>\nDIRECTOR<\/strong><\/th>\nCOUNTRY<\/strong><\/th>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1991<\/td>\nCamp at Thiaroye<\/em>*<\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nYeelen<\/em>*<\/td>\nSouleymane Ciss\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nLa Vie Est Belle<\/em>*<\/td>\nMweze Ngangura<\/td>\nCongo\/Zaire<\/td>\n<\/tr>\n
<\/td>\nFaces of Women<\/em><\/td>\nD\u00e9sir\u00e9 Ecar\u00e9<\/td>\nIvory Coast<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1992<\/td>\nFinzan<\/em>*<\/td>\nCheick Oumar Sissoko<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nXala<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nYaaba*<\/em><\/td>\nIdrissa Ou\u00e9draogo<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nAngano Angano<\/em>*<\/td>\nC\u00e9sar Paes<\/td>\nMadagascar<\/td>\n<\/tr>\n
<\/td>\nMy Dinner With the Devil Snake<\/em>*<\/td>\nJim Blashfield<\/td>\nUSA<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1993<\/td>\nTilai\/The Law*<\/em><\/td>\nIdrissa Ou\u00e9draogo<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nHarvest 3000 Years<\/em><\/td>\nHaile Gerima<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nSango Malo<\/em>*<\/td>\nBassek ba Kobhio<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nZan Boko<\/em>*<\/td>\nGaston Kabor\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nWend Kuuni<\/em>*<\/td>\nGaston Kabor\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1994<\/td>\nNeria<\/em>*<\/td>\nGodwin Mawuru<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nTouki Bouki<\/em>*<\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nKasarmu Ce<\/em>*<\/td>\nSaddik Balewa<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nGuelwaar*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nNightmare in Paradise<\/em><\/td>\nHilton Fyle<\/td>\nSierra Leone<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1995<\/td>\nSankofa<\/em>*<\/td>\nHaile Gerima<\/td>\nGhana\/Jamaica\/USA<\/td>\n<\/tr>\n
<\/td>\nMore Time<\/em><\/td>\nIsaac Mabhikwa<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nSamba Traor\u00e9<\/em><\/td>\nIdrissa Ou\u00e9draogo<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nMandabi<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nThese Hands<\/em>*<\/td>\nFlora M\u2019mbugu-Schelling<\/td>\nTanzania<\/td>\n<\/tr>\n
<\/td>\nWomen with Open Eyes<\/em>*<\/td>\nAnne-Laure Folly<\/td>\nTogo<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1996<\/td>\nKeita<\/em>*<\/td>\nDani Kouyat\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nThe Blue Eyes of Yonta<\/em>*<\/td>\nFlora Gomes<\/td>\nGuinea-Bissau<\/td>\n<\/tr>\n
<\/td>\nGito the Ungrateful<\/em>*<\/td>\nLeonce Ngabo<\/td>\nBurundi<\/td>\n<\/tr>\n
<\/td>\nHyenas<\/em>*<\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nFrom Sun-Up<\/em>*<\/td>\nFlora M\u2019mbugu-Schelling<\/td>\nTanzania<\/td>\n<\/tr>\n
<\/td>\nMonday’s Girls<\/em>*<\/td>\nNgozi Onwurah<\/td>\nNigeria<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1997<\/td>\nSarraounia<\/em><\/td>\nMed Hondo<\/td>\nMauritania<\/td>\n<\/tr>\n
<\/td>\nGuimba the Tyrant<\/em>*<\/td>\nCheick Oumar Sissoko<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\n\u00c7a Twiste \u00e0 Poponguine<\/em>*<\/td>\nMoussa Sene Absa<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nYou Africa!<\/em>*<\/td>\nNdiouga Moctar B\u00e2<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nCeddo<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nThe Silences of the Palace<\/em><\/td>\nMoufida Tlatli<\/td>\nTunisia<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1998<\/td>\nThrough the Door of No Return<\/em>*<\/td>\nShirikiana Aina<\/td>\nUSA\/Ghana<\/td>\n<\/tr>\n
<\/td>\nWhen the Stars Meet the Sea<\/em>*<\/td>\nRaymond Rajaonarivelo<\/td>\nMadagascar<\/td>\n<\/tr>\n
<\/td>\nSankofa<\/em>*<\/td>\nHaile Gerima<\/td>\nGhana\/Jamaica\/USA<\/td>\n<\/tr>\n
<\/td>\nLe Grand Blanc de Lambar\u00e9n\u00e9<\/em>*<\/td>\nBassek ba Kobhio<\/td>\nCameroon\/Gabon<\/td>\n<\/tr>\n
<\/td>\nGrt Grt Grt Grandparents\u2019 Music<\/em>*<\/td>\nTaale Laafi Rosellini<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nClando<\/em>*<\/td>\nJean-Marie Teno<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nDeluge<\/em>*<\/td>\nSalem Mekuria<\/td>\nEthiopia\/USA<\/td>\n<\/tr>\n
<\/td>\nFlame<\/em>*<\/td>\nIngrid Sinclair<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nAdama, the Fulani Musician<\/em>*<\/td>\nTaale Laafi Rosellini<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1999<\/td>\nKini and Adams<\/em><\/td>\nIdrissa Ou\u00e9draogo<\/td>\nBurkina Faso\/Zimbabwe<\/td>\n<\/tr>\n
<\/td>\nTaafe Fanga<\/em>*<\/td>\nAdama Drabo<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nTableau Ferraille<\/em>*<\/td>\nMoussa Sene Absa<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nAristotle\u2019s Plot<\/em>*<\/td>\nJean-Pierre Bekolo<\/td>\nCameroon\/Zimbabwe<\/td>\n<\/tr>\n
<\/td>\nFaraw! Mother of the Dunes<\/em>*<\/td>\nAbbdoulaye Ascofar\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nThe Land\/Al-Ard<\/em>*<\/td>\nYoussef Chahine<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nMortu Nega<\/em>*<\/td>\nFlora Gomes<\/td>\nGuinea-Bissau<\/td>\n<\/tr>\n
<\/td>\nOggun: An Eternal Presence<\/em>*<\/td>\nGloria Rolando<\/td>\nCuba<\/td>\n<\/tr>\n
<\/td>\nEveryone’s Child<\/em>*<\/td>\nTsitsi Dangarembga<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nPicc Mi\/Little Bird<\/em>*<\/td>\nMansour Sora Wade<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nFary, L’Anesse<\/em>*<\/td>\nMansour Sora Wade<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nMy Dinner With the Devil Snake<\/em>*<\/td>\nJim Blashfield<\/td>\nUSA<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2000<\/td>\nHeritage Africa*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nCrossroads of People*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nLove Brewed in the African Pot*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nLife on Earth<\/em>*<\/td>\nAbderrahmane Sissako<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nThe Last Angel of History<\/em>*<\/td>\nJohn Akomfrah<\/td>\nGhana\/UK<\/td>\n<\/tr>\n
<\/td>\nTumult\/Gir-Gir<\/em><\/td>\nYemane I. Demissie<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nFools<\/em><\/td>\nRamadan Suleman<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nMaangamizi<\/em>*<\/td>\nMulvihill, Mhando<\/td>\nTanzania<\/td>\n<\/tr>\n
<\/td>\nBab El-Oued City<\/em>*<\/td>\nMerzak Allouache<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nKirikou\u00a0& the Sorceress<\/em>*<\/td>\nMichel Ocelot<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nPi\u00e8ces d’Identit\u00e9s\/ID<\/em>*<\/td>\nMweze Ngangura<\/td>\nCongo\/DRC<\/td>\n<\/tr>\n
<\/td>\nDestiny<\/em>*<\/td>\nYoussef Chahine<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nSaikati the Enkabaani<\/em>*<\/td>\nAnne G. Mungai<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nHoney and Ashes<\/em>*<\/td>\nNadia Fares<\/td>\nTunisia<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2001<\/td>\nMossane<\/em><\/td>\nSafi Faye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nThe Little Girl Who Sold the Sun<\/em>*<\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nLe Franc<\/em>*<\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nTouki Bouki<\/em>*<\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nHyenas<\/em>*<\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nGenesis<\/em>*<\/td>\nCheick Oumar Sissoko<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nBye Bye Africa<\/em>*<\/td>\nMahamat Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nChef\/Chief<\/em>*<\/td>\nJean-Marie Teno<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nHead in the Clouds<\/em>*<\/td>\nJean-Marie Teno<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nJim Comes to Jo’burg<\/em>*<\/td>\nDonald Swanson<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nDolly and The Inkspots<\/em>*<\/td>\nJurgen Schadeberg<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nFintar O Destino<\/em>*<\/td>\nFernando Vendrell<\/td>\nCape Verde<\/td>\n<\/tr>\n
<\/td>\nKafi’s Story<\/em>*<\/td>\nArthur Howes<\/td>\nSudan\/UK<\/td>\n<\/tr>\n
<\/td>\nNuba Conversations<\/em>*<\/td>\nArthur Howes<\/td>\nSudan\/UK<\/td>\n<\/tr>\n
<\/td>\nYellow Card<\/em>*<\/td>\nJohn Riber<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nHalfaouine<\/em>*<\/td>\nFerid Boughedir<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nFamily Across the Sea<\/em>*<\/td>\nTim Carrier<\/td>\nSierra Leone\/USA<\/td>\n<\/tr>\n
<\/td>\nThe Language You Cry In<\/em>*<\/td>\nA. Toepke,\u00a0 Serrano<\/td>\nSierra Leone\/Spain<\/td>\n<\/tr>\n
<\/td>\nKirikou and the Sorceress*<\/em><\/td>\nMichel Ocelot<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nSambizanga<\/em><\/td>\nSarah Maldoror<\/td>\nAngola<\/td>\n<\/tr>\n
<\/td>\nThe Battle of the Sacred Tree<\/em>*<\/td>\nWanjiru Kinyanjui<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nLong Night’s Journey into Day<\/em>*<\/td>\nF. Reid, D. Hoffmann<\/td>\nSouth Africa\/USA<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2002<\/td>\nT.G.V.<\/em><\/td>\nMoussa Tour\u00e9<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nBopha!<\/em><\/td>\nMorgan Freeman<\/td>\nSouth Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nBoesman and Lena<\/em>*<\/td>\nJohn Berry<\/td>\nSouth Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nLumumba<\/em>*<\/td>\nRaoul Peck<\/td>\nCongo\/Haiti<\/td>\n<\/tr>\n
<\/td>\nThunderbolt<\/em>*<\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nSteve Biko: Beacon of Hope<\/em>*<\/td>\nNkosinathi Biko<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nAdanggaman<\/em><\/td>\nRoger Gnoan M\u2019Bala<\/td>\nIvory Coast<\/td>\n<\/tr>\n
<\/td>\nFaat Kine<\/em>*<\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nOur Friends at the Bank<\/em>*<\/td>\nPeter Chappell<\/td>\nUganda\/France<\/td>\n<\/tr>\n
<\/td>\nDakan\/Destiny<\/em>*<\/td>\nMohamed Camara<\/td>\nGuinea<\/td>\n<\/tr>\n
<\/td>\nEndurance<\/em><\/td>\nLeslie Woodhead<\/td>\nEthiopia\/USA<\/td>\n<\/tr>\n
<\/td>\nOut in Africa<\/em>*<\/td>\nJohnny Symons<\/td>\nSouth Africa\/Zim\/USA<\/td>\n<\/tr>\n
<\/td>\nWoubi Cheri<\/em>*<\/td>\nP.\u00a0Brooks, L. Bocahut<\/td>\nIvory Coast\/France<\/td>\n<\/tr>\n
<\/td>\nSirga: The Lion Child<\/em><\/td>\nPatrick Grandperret<\/td>\nIvory Coast\/Mali\/France<\/td>\n<\/tr>\n
<\/td>\nA Door to the Sky<\/em>*<\/td>\nFarida Ben Lyzaid<\/td>\nMorocco<\/td>\n<\/tr>\n
<\/td>\nThe Season of Men<\/em><\/td>\nMoufida Tlatli<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nNaked Spaces: Living Is Round<\/em>*<\/td>\nTrinh T. Minh-ha<\/td>\nWest Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nDiamonds, Guns, Rice<\/em>*<\/td>\nJan Haaken<\/td>\nSierra Leone\/USA<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2003<\/td>\nKarmen Ge\u00ef<\/em>*<\/td>\nJoseph Ga\u00ef Ramaka<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nCamp at Thiaroye<\/em>*<\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nDaresalam<\/em>*<\/td>\nIssa Serge Coelo<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nAdwa: An African Victory*<\/em><\/td>\nHaile Gerima<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nSankofa<\/em>*<\/td>\nHaile Gerima<\/td>\nGhana\/Jamaica\/USA<\/td>\n<\/tr>\n
<\/td>\nSia, The Myth of the Python<\/em>*<\/td>\nDani Kouyat\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nScenarios from the Sahel<\/em>*<\/td>\nWest African directors<\/td>\nMali\/Senegal\/B. Faso<\/td>\n<\/tr>\n
<\/td>\nIt\u2019s My Life<\/em>*<\/td>\nBrian Tilley<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nMiddle Passage*<\/em><\/td>\nGuy Deslauriers<\/td>\nMartinique<\/td>\n<\/tr>\n
<\/td>\nNelio\u2019s Story<\/em>*<\/td>\nSolveig Nordlund<\/td>\nMozambique\/Sweden<\/td>\n<\/tr>\n
<\/td>\nThe Closed Doors<\/em>*<\/td>\nAtef Hetata<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nUmm Kulthum, A Voice Like Egypt<\/em>*<\/td>\nMichal Goldman<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nNaguib Mahfouz<\/em>*<\/td>\nFrancka Mouloudi<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nThe Cora Player<\/em><\/td>\nCilia Sawadogo<\/td>\nBurkina Faso\/Canada<\/td>\n<\/tr>\n
<\/td>\nChristopher Changes His Name<\/em><\/td>\nCilia Sawadogo<\/td>\nBurkina Faso\/Canada<\/td>\n<\/tr>\n
<\/td>\nKirikou\u00a0& the Sorceress<\/em>*<\/td>\nMichel Ocelot<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nMama Africa, Pt. I<\/em>*<\/td>\nPickering et al.<\/td>\nNamibia\/Nigeria\/S. Africa<\/td>\n<\/tr>\n
<\/td>\nSatin Rouge<\/em><\/td>\nRaja Amari<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nBilalian<\/em><\/td>\nAminah AbdulJabbaar<\/td>\nUSA\/Senegal\/Gambia<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2004<\/td>\nAmandla! Revolution in Four-Part Harmony*<\/em><\/td>\nLee Hirsch<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nAli Zaoua: Prince of the Stree<\/em><\/td>\nNabil Ayouch<\/td>\nMorocco<\/td>\n<\/tr>\n
<\/td>\nWaiting for Happiness*<\/em><\/td>\nAbderrahmane Sissako<\/td>\nMauritania<\/td>\n<\/tr>\n
<\/td>\nAbouna\/Our Father*<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nBenjamin & His Brother*<\/em><\/td>\nArthur Howes<\/td>\nSudan\/UK\/USA<\/td>\n<\/tr>\n
<\/td>\nThe Price of Forgiveness*<\/em><\/td>\nMansour Sora Wade<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nImperfect Journey*<\/em><\/td>\nHaile Gerima<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nLittle Senegal*<\/em><\/td>\nRachid Bouchareb<\/td>\nAlgeria\/Senegal\/USA<\/td>\n<\/tr>\n
<\/td>\nNightjohn*<\/em><\/td>\nCharles Burnett<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nThe Man by the Shore*<\/em><\/td>\nRaoul Peck<\/td>\nHaiti<\/td>\n<\/tr>\n
<\/td>\nA Summer in La Goulette*<\/em><\/td>\nF\u00e9rid Boughedir<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nBitter Cane*<\/em><\/td>\nJacques Arcelin<\/td>\nHaiti<\/td>\n<\/tr>\n
<\/td>\nHaiti: Dreams of Democracy*<\/em><\/td>\nJonathan Demme<\/td>\nHaiti\/UK<\/td>\n<\/tr>\n
<\/td>\nMama Africa, Part II*<\/em><\/td>\nFanta Nacro et al.<\/td>\nB.F.\/Zimbabwe\/Tunisia<\/td>\n<\/tr>\n
<\/td>\nInch\u2019Allah Dimanche*<\/em><\/td>\nYamina Benguigui<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nThe Song of Umm Dalaila*<\/em><\/td>\nDanielle Smith<\/td>\nWestern Sahara\/Algeria<\/td>\n<\/tr>\n
<\/td>\nThe Beat of Distant Hearts*<\/em><\/td>\nDanielle Smith<\/td>\nWestern Sahara\/Algeria<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2005<\/td>\nWaati\/Time<\/em><\/td>\nSouleymane Ciss\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nYeelen\/Brightness*<\/em><\/td>\nSouleymane Ciss\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nBaara\/The Porter*<\/em><\/td>\nSouleymane Ciss\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nFinye\/The Wind*<\/em><\/td>\nSouleymane Ciss\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nThe Forest*<\/em><\/td>\nB. Kobhio, Ou\u00e9nangar\u00e9<\/td>\nCAR\/Cameroon\/Gabon<\/td>\n<\/tr>\n
<\/td>\nCosmic Africa*<\/em><\/td>\nCraig &\u00a0Damon Foster<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nAfro@Digital*<\/em><\/td>\nBakupa-Kanyinda<\/td>\nCongo\/France<\/td>\n<\/tr>\n
<\/td>\nMoolaad\u00e9<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nD\u00f4l\u00e8\/Money*<\/em><\/td>\nImunga Ivanga<\/td>\nGabon<\/td>\n<\/tr>\n
<\/td>\nShanda*<\/em><\/td>\nJohn & Louise Riber<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nOn Tiptoe: Gentle Steps to Freedom*<\/em><\/td>\nL. Demoz, E. Simonson<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nSoldiers of the Rock*<\/em><\/td>\nNorman Maake<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nMadame Brouette<\/em><\/td>\nMoussa Sene Absa<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nThe Father * <\/em><\/td>\nErmias Woldeamlak<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nSurrender* <\/em><\/td>\nCeline Gilbert<\/td>\nTanzania<\/td>\n<\/tr>\n
<\/td>\nThe Marriage of Mariamu*<\/em><\/td>\nR. Mulvihill,\u00a0N. Ng\u2019oge<\/td>\nTanzania\/USA<\/td>\n<\/tr>\n
<\/td>\nThe Life & Times of Sara Baartman*<\/em><\/td>\nZola Maseko<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nThe Return of Sara Baartman*<\/em><\/td>\nZola Maseko<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nRachida*<\/em><\/td>\nYamina Bachir-Chouikh<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nDaughters of the Dust<\/em>*<\/td>\nJulie Dash<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nSisters of the Screen*<\/em><\/td>\nBeti Ellerson<\/td>\nWest Africa\/USA<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2006<\/td>\nThe Hero \/ O Heroi*<\/em><\/td>\nZ\u00e9z\u00e9 Gamboa<\/td>\nAngola<\/td>\n<\/tr>\n
<\/td>\nDarwin\u2019s Nightmare<\/em><\/td>\nHubert Sauper<\/td>\nTanzania\/Austria\/France<\/td>\n<\/tr>\n
<\/td>\nHeritage*<\/em><\/td>\nLadi Ladebo<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nTasuma, The Fighter*<\/em><\/td>\nDaniel Kollo Sanou<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nMaluala*<\/em><\/td>\nSergio Giral<\/td>\nCuba<\/td>\n<\/tr>\n
<\/td>\nThe Forgotten Root*<\/em><\/td>\nRaphael Rebollar<\/td>\nMexico<\/td>\n<\/tr>\n
<\/td>\nFrom Florida to Coahuila*<\/em><\/td>\nRaphael Rebollar<\/td>\nMexico<\/td>\n<\/tr>\n
<\/td>\nSometimes in April*<\/em><\/td>\nRaoul Peck<\/td>\nRwanda<\/td>\n<\/tr>\n
<\/td>\nSophia\u2019s Homecoming*<\/em><\/td>\nRichard Pakleppa<\/td>\nNamibia<\/td>\n<\/tr>\n
<\/td>\nHot Chili*<\/em><\/td>\nMoabi Mogorosi<\/td>\nBotswana<\/td>\n<\/tr>\n
<\/td>\nKeepers of Memory*<\/em><\/td>\nEric Kabera<\/td>\nRwanda<\/td>\n<\/tr>\n
<\/td>\nIn Rwanda We Say\u2026*<\/em><\/td>\nAnne Aghion<\/td>\nRwanda<\/td>\n<\/tr>\n
<\/td>\nWelcome to Mali<\/em><\/td>\nPenda Diakit\u00e9<\/td>\nUSA\/Mali<\/td>\n<\/tr>\n
<\/td>\nKo-Falen\/The Gift Exchange<\/em><\/td>\nBaba Wagu\u00e9 Diakit\u00e9<\/td>\nUSA\/Mali<\/td>\n<\/tr>\n
<\/td>\nComing to England<\/em><\/td>\nKeith Taylor<\/td>\nTrinidad\/UK<\/td>\n<\/tr>\n
<\/td>\nThe Other World*<\/em><\/td>\nMerzak Allouache<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nAll About Darfur*<\/em><\/td>\nTaghreed Elsanhouri<\/td>\nSudan\/UK<\/td>\n<\/tr>\n
<\/td>\nYesterday<\/em><\/td>\nDarrell Roodt<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nThe Ball*<\/em><\/td>\nOrlando Mesquita<\/td>\nMozambique<\/td>\n<\/tr>\n
<\/td>\nThe Sky in Her Eyes*<\/em><\/td>\nO. Smit, M. Ncayiyana<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nState of Denial*<\/em><\/td>\nElaine Epstein<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nLiving with Slim: Kids Talk about AIDS*<\/em><\/td>\nSam Kauffmann<\/td>\nUganda<\/td>\n<\/tr>\n
<\/td>\nTahara*<\/em><\/td>\nSara Rashad<\/td>\nUSA\/Egypt<\/td>\n<\/tr>\n
<\/td>\nKare Kare Zvako*<\/em><\/td>\nTsitsi Dangarembga<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nHollow City*<\/em><\/td>\nMaria Jo\u00e3o Ganga<\/td>\nMozambique<\/td>\n<\/tr>\n
<\/td>\nKuxa Kanema\/The Birth of Cinema*<\/em><\/td>\nMargarida Cardoso<\/td>\nMozambique<\/td>\n<\/tr>\n
<\/td>\nAfrica: Open for Business<\/em><\/td>\nCarol Pineau<\/td>\nVarious African countries<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2007<\/td>\nTsotsi*<\/em><\/td>\nGavin Hood<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nCrossroads of People*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nThe Golden Stool*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nLove Brewed in the African Pot*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nDelwende*<\/em><\/td>\nS. Pierre Yameogo<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nNha Fala\/My Voice*<\/em><\/td>\nFlora Gomes<\/td>\nGuinea Bissau<\/td>\n<\/tr>\n
<\/td>\nBlack Gold*<\/em><\/td>\nM. Francis, N. Francis<\/td>\nUK\/Ethiopia<\/td>\n<\/tr>\n
<\/td>\nA Child\u2019s Love Story*<\/em><\/td>\nBen Diogaye Beye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nTwelve Disciples of Nelson Mandela*<\/em><\/td>\nThomas Allen Harris<\/td>\nUSA\/South Africa<\/td>\n<\/tr>\n
<\/td>\nThat\u2019s My Face\/\u00c9 Minha Cara*<\/em><\/td>\nThomas Allen Harris<\/td>\nUSA\/Brazil<\/td>\n<\/tr>\n
<\/td>\nScent of Oak\/Roble de Olor<\/em><\/td>\nRigoberto L\u00f3pez Pego<\/td>\nCuba<\/td>\n<\/tr>\n
<\/td>\nKirikou and the Wild Beasts<\/em><\/td>\nM. Ocelot, B. Galup<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nDrum*<\/em><\/td>\nZola Maseko<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nBorders\/Fronti\u00e8res*<\/em><\/td>\nMostefa Djadjam<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nOchre and Water*<\/em><\/td>\nC. Matthew, J Chesselet<\/td>\nNamibia<\/td>\n<\/tr>\n
<\/td>\nThe Night of Truth*<\/em><\/td>\nFanta R\u00e9gina Nacro<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nBedwin Hacker*<\/em><\/td>\nNadia El Fani<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nSisters In Law*<\/em><\/td>\nK. Longinotto, F. \u00a0Ayisi<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nAl\u2019l\u00e8\u00e8ssi\u2026An African Actress*<\/em><\/td>\nRahmatou Keita<\/td>\nNiger<\/td>\n<\/tr>\n
<\/td>\nKuxa Kanema: The Birth of Cinema*<\/em><\/td>\nMargarida Cardoso<\/td>\nMozambique<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2008<\/td>\nDays of Glory\/Indig\u00e8nes<\/em><\/td>\nRachid Bouchareb<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nBorom Sarret*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nBlack Girl\/La Noire de\u2026*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nGuelwaar*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nBamako*<\/em><\/td>\nAbderrahmane Sissako<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nDaratt\/Dry Season*<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nColonial Misunderstanding*<\/em><\/td>\nJean-Marie Teno<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nAlex\u2019s Wedding<\/em><\/td>\nJean-Marie Teno<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nThe Wooden Camera<\/em><\/td>\nNtshavheni wa Luruli<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nMasa\u00ef : The Rain Warriors*<\/em><\/td>\nPascal Plisson<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nThe Lion Mountains*<\/em><\/td>\nLouis Buckley<\/td>\nSierra Leone\/UK<\/td>\n<\/tr>\n
<\/td>\nMoving to the Beat<\/em><\/td>\nHeymann, Fofanah<\/td>\nSierra Leone\/USA<\/td>\n<\/tr>\n
<\/td>\nEzra*<\/em><\/td>\nNewton Aduaka<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nThe Legend of the Sky Kingdom*<\/em><\/td>\nRoger Hawkins<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nThe Red Glasses<\/em><\/td>\nYinka Djin<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nThe Narrow Path*<\/em><\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nKinshasa Palace<\/em><\/td>\nZeka Laplaine<\/td>\nD.R. Congo\/France<\/td>\n<\/tr>\n
<\/td>\nThe Devil Came on Horseback<\/em><\/td>\nSundberg,Stern<\/td>\nSudan\/USA<\/td>\n<\/tr>\n
<\/td>\nIn the Shadow of Hollywood*<\/em><\/td>\nBrad Osborne<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nThis Is Nollywood*<\/em><\/td>\nFranco Sacchi<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nUnder the Moonlight*<\/em><\/td>\nApolline Traor\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\n34 South*<\/em><\/td>\nMaganthrie Pillay<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nSweet Crude <\/em><\/td>\nSandy Cioffi<\/td>\nNigeria\/USA<\/td>\n<\/tr>\n
<\/td>\nZanzibar Soccer Queens*<\/em><\/td>\nFlorence Ayisi<\/td>\nZanzibar<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2009<\/td>\nZa\u00efna: Rider of the Atlas<\/em><\/td>\nBourlem Guerdjou<\/td>\nMorocco<\/td>\n<\/tr>\n
<\/td>\nFESPACO*<\/em><\/td>\nKevin Arcadie<\/td>\nBurkina Faso\/USA<\/td>\n<\/tr>\n
<\/td>\nNo Time To Die<\/em><\/td>\nKing Ampaw<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nClouds Over Conakry<\/em><\/td>\nCheick F.\u00a0Camara<\/td>\nGuinea<\/td>\n<\/tr>\n
<\/td>\nAbeni*<\/em><\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nDeath of Two Sons*<\/em><\/td>\nMicah Schaffer<\/td>\nUSA\/Guinea<\/td>\n<\/tr>\n
<\/td>\nNightjohn*<\/em><\/td>\nCharles Burnett<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nBab\u2019Aziz*<\/em><\/td>\nNacer Khemir<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nCuba: An African Odyssey<\/em><\/td>\nJihan El-Tahri<\/td>\nFrance\/Egypt<\/td>\n<\/tr>\n
<\/td>\nNamibia: The Struggle for Liberation<\/em><\/td>\nCharles Burnett<\/td>\nNamibia<\/td>\n<\/tr>\n
<\/td>\nAzur & Asmar*<\/em><\/td>\nMichel Ocelot<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nAfrica Paradis<\/em><\/td>\nSylvestre Amoussou<\/td>\nBenin\/France<\/td>\n<\/tr>\n
<\/td>\nThe Fallen Beats*<\/em><\/td>\nDhaba Wayessa<\/td>\nEthiopia\/USA<\/td>\n<\/tr>\n
<\/td>\nMeteni The Lost One*<\/em><\/td>\nWondwossen Deress<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nMenged*<\/em><\/td>\nDaniel Taye Workou<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nMeokgo & the Stick Fighter*<\/em><\/td>\nTeboho Mahlatsi<\/td>\nSouth Africa\/Lesotho<\/td>\n<\/tr>\n
<\/td>\nTaarab: An Ocean of Melodies*<\/em><\/td>\nAbdulkadir Ahmed Said<\/td>\nTanzania\/South Africa<\/td>\n<\/tr>\n
<\/td>\nAs Old As My Tongue \u2013 Bi Kidude*<\/em><\/td>\nAndy Jones<\/td>\nTanzania\/UK<\/td>\n<\/tr>\n
<\/td>\nEnough!\/Barakat!*<\/em><\/td>\nDjamila Sahraoui<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nThe World Unseen<\/em><\/td>\nShamim Sarif<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nA Love During the War<\/em><\/td>\nOsvalde Lewat-Hallade<\/td>\nCongo\/Cameroon<\/td>\n<\/tr>\n
<\/td>\nAwaiting for Men*<\/em><\/td>\nKaty L\u00e9na N\u2019Diaye<\/td>\nMauritania\/Belgium<\/td>\n<\/tr>\n
<\/td>\nIron Ladies of Liberia*<\/em><\/td>\nS. S. Johnson, D. Junge<\/td>\nLiberia\/USA<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2010<\/td>\nTeza<\/em><\/td>\nHaile Gerima<\/td>\nEthiopia\/Germany<\/td>\n<\/tr>\n
<\/td>\nDemocracy in Dakar*<\/em><\/td>\nHerson et al.<\/td>\nSenegal\/USA<\/td>\n<\/tr>\n
<\/td>\nWater First*<\/em><\/td>\nAmy Hart<\/td>\nMalawi\/USA<\/td>\n<\/tr>\n
<\/td>\nSankofa*<\/em><\/td>\nHaile Gerima<\/td>\nGhana\/Jamaica\/USA<\/td>\n<\/tr>\n
<\/td>\nNothing But the Truth*<\/em><\/td>\nJohn Kani<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nWrestling Grounds*<\/em><\/td>\nCheikh A. Ndiaye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nBehind the Rainbow<\/em><\/td>\nJihan El-Tahri<\/td>\nS. Africa\/Egypt\/France<\/td>\n<\/tr>\n
<\/td>\nAdios Momo*<\/em><\/td>\nLeonardo Ricagni<\/td>\nUruguay<\/td>\n<\/tr>\n
<\/td>\nDivizionz*<\/em><\/td>\nYes! That’s Us<\/td>\nUganda<\/td>\n<\/tr>\n
<\/td>\nMy Neighbor, My Killer*<\/em><\/td>\nAnne Aghion<\/td>\nRwanda\/France<\/td>\n<\/tr>\n
<\/td>\nThe Yacoubian Building<\/em><\/td>\nMarwan Hamed<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nPrincess of the Sun<\/em><\/td>\nPhilippe Leclerc<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nObara & the Merchants<\/em><\/td>\nManauvaskar Kublall<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nSex, Okra & Salted Butter<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad\/France<\/td>\n<\/tr>\n
<\/td>\nAdieu M\u00e8res\/Goodbye Mothers*<\/em><\/td>\nMohamed Ismail<\/td>\nMorocco<\/td>\n<\/tr>\n
<\/td>\nThe Fighting Spirit*<\/em><\/td>\nGeorge Amponsah<\/td>\nGhana\/UK<\/td>\n<\/tr>\n
<\/td>\nParis or Nothing<\/em><\/td>\nJos\u00e9phine Ndagnou<\/td>\nCameroon\/France<\/td>\n<\/tr>\n
<\/td>\nFrom a Whisper*<\/em><\/td>\nWanuri Kahiu<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nSenegalese Women & Islam*<\/em><\/td>\nAng\u00e8le Diabang Brener<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nYand\u00e9 Codou*<\/em><\/td>\nAng\u00e8le Diabang Brener<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nComing of Age*<\/em><\/td>\nJudy Kibinge<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nNora<\/em><\/td>\nA. Kovgan, D. Hinton<\/td>\nMozambique\/USA<\/td>\n<\/tr>\n
<\/td>\nMovement (R)Evolution Africa<\/em><\/td>\nJoan Frosch<\/td>\nAfrican countries\/USA<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2011<\/td>\nA Screaming Man*<\/em><\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nSotigui Kouyat\u00e9: A Modern Griot*<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nFrance\/Mali<\/td>\n<\/tr>\n
<\/td>\nAbouna\/Our Father*<\/em><\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nArugba*<\/em><\/span><\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nLes Saignantes\/The Bloodettes*<\/em><\/em><\/td>\nJean-Pierre B\u00e9kolo<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nStolen*<\/em><\/em><\/td>\nV. Ayala, D. Fallshaw<\/td>\nAlgeria\/Australia<\/td>\n<\/tr>\n
<\/td>\nThe Athlete<\/em><\/em><\/td>\nR. Lakew, D. Frankel<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nPumzi<\/em><\/em><\/td>\nWanuri Kahui<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nOusmane\/Deweneti*<\/em><\/em><\/td>\nDyana Gaye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nSaint Louis Blues*<\/em><\/em><\/td>\nDyana Gaye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nBurning in the Sun*<\/em><\/em><\/td>\nC. Matlow, M.Robinson<\/td>\nMali\/USA<\/td>\n<\/tr>\n
<\/td>\nWhite Lion<\/em><\/em><\/td>\nMichael Swan<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nMasquerades*<\/em><\/em><\/td>\nLy\u00e8s Salem<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nFantan Fanga\/Power of the Poor<\/em><\/em><\/td>\nA. Drabo, L. Diakit\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nStreetball*<\/em><\/em><\/td>\nDemetrius Wren<\/td>\nSouth Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nImani<\/em><\/em><\/td>\nCaroline Kamya<\/td>\nUganda<\/td>\n<\/tr>\n
<\/td>\nWhite Wedding*<\/em><\/em><\/td>\nJann Turner<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nIn My Genes*<\/em><\/em><\/td>\nLupita Nyong’o<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nMe Broni Ba\/My White Baby*<\/em><\/em><\/td>\nAkosua Adoma Owusu<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nWaliden\/Children of Others*<\/em><\/em><\/td>\nAwa Traor\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\n<\/em><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/em><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/em><\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/em><\/td>\n<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Here are all of the films that have been shown at CFAF each year. The films with asterisks (*) are available at the PCC Library.\u00a0The\u00a0African Film Collection is a complete listing of films available in the PCC library catalog. If you are not a PCC student, inquire about a guest library card. FILM DIRECTOR COUNTRY […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":1045,"menu_order":5,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-85","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.africanfilmfestival.org\/2011\/wp-json\/wp\/v2\/pages\/85","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.africanfilmfestival.org\/2011\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.africanfilmfestival.org\/2011\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.africanfilmfestival.org\/2011\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.africanfilmfestival.org\/2011\/wp-json\/wp\/v2\/comments?post=85"}],"version-history":[{"count":0,"href":"https:\/\/www.africanfilmfestival.org\/2011\/wp-json\/wp\/v2\/pages\/85\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.africanfilmfestival.org\/2011\/wp-json\/wp\/v2\/pages\/1045"}],"wp:attachment":[{"href":"https:\/\/www.africanfilmfestival.org\/2011\/wp-json\/wp\/v2\/media?parent=85"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}