{"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":"2014-12-20T13:34:26","modified_gmt":"2014-12-20T21:34:26","slug":"filmography","status":"publish","type":"page","link":"https:\/\/www.africanfilmfestival.org\/2015\/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>. The African 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

2014 films will be available in May or June 2014.<\/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\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\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<\/td>\nDIRECTOR<\/td>\nCOUNTRY<\/td>\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>\nFaces of Women<\/em><\/td>\nD\u00e9sir\u00e9 Ecar\u00e9<\/td>\nIvory Coast<\/td>\n<\/tr>\n
<\/td>\nLa Vie Est Belle*<\/em><\/td>\nMweze Ngangura<\/td>\nCongo DRC<\/td>\n<\/tr>\n
<\/td>\nYeelen*<\/em><\/td>\nSouleymane Ciss\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1992<\/td>\nAngano Angano*<\/em><\/td>\nC\u00e9sar Paes<\/td>\nMadagascar<\/td>\n<\/tr>\n
<\/td>\nFinzan*<\/em><\/td>\nCheick Oumar Sissoko<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nMy Dinner With the Devil Snake*<\/em><\/td>\nJim Blashfield<\/td>\nUSA<\/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
\n
\n<\/td>\n<\/tr>\n
1993<\/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>\nTilai\/The Law*<\/em><\/td>\nIdrissa Ou\u00e9draogo<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nWend Kuuni*<\/em><\/td>\nGaston Kabor\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nZan Boko*<\/em><\/td>\nGaston Kabor\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1994<\/td>\nGuelwaar*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nKasarmu Ce*<\/em><\/td>\nSaddik Balewa<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nNeria*<\/em><\/td>\nGodwin Mawuru<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nNightmare in Paradise<\/em><\/td>\nHilton Fyle<\/td>\nSierra Leone<\/td>\n<\/tr>\n
<\/td>\nTouki Bouki*<\/em><\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1995<\/td>\nMandabi<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/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>\nSankofa*<\/em><\/td>\nHaile Gerima<\/td>\nGhana\/Jamaica\/USA<\/td>\n<\/tr>\n
<\/td>\nThese Hands*<\/em><\/td>\nFlora M’mbugu-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>\nBlue Eyes of Yonta, The*<\/em><\/td>\nFlora Gomes<\/td>\nGuinea-Bissau<\/td>\n<\/tr>\n
<\/td>\nFrom Sun-Up*<\/em><\/td>\nFlora M’mbugu-Schelling<\/td>\nTanzania<\/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>\nKeita*<\/em><\/td>\nDani Kouyat\u00e9<\/td>\nBurkina Faso<\/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>\n\u00c7a Twiste \u00e0 Poponguine*<\/em><\/td>\nMoussa Sene Absa<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nCeddo<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nGuimba the Tyrant*<\/em><\/td>\nCheick Oumar Sissoko<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nSarraounia<\/em><\/td>\nMed Hondo<\/td>\nMauritania<\/td>\n<\/tr>\n
<\/td>\nSilences of the Palace, The<\/em><\/td>\nMoufida Tlatli<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nYou Africa!*<\/em><\/td>\nNdiouga Moctar B\u00e2<\/td>\nSenegal<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
1998<\/td>\nAdama, the Fulani Musician*<\/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>\nGreat Great Grandparents’ Music*<\/em><\/td>\nTaale Laafi Rosellini<\/td>\nBurkina Faso<\/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>\nSankofa*<\/em><\/td>\nHaile Gerima<\/td>\nGhana\/Jamaica\/USA<\/td>\n<\/tr>\n
<\/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
\n
\n<\/td>\n<\/tr>\n
1999<\/td>\nAristotle’s Plot*<\/em><\/td>\nJean-Pierre Bekolo<\/td>\nCameroon\/Zimbabwe<\/td>\n<\/tr>\n
<\/td>\nEveryone’s Child*<\/em><\/td>\nTsitsi Dangarembga<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nFaraw! Mother of the Dunes*<\/em><\/td>\nAbbdoulaye Ascofar\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nFary, L’Anesse*<\/em><\/td>\nMansour Sora Wade<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nKini and Adams<\/em><\/td>\nIdrissa Ou\u00e9draogo<\/td>\nBurkina Faso\/Zimbabwe<\/td>\n<\/tr>\n
<\/td>\nLand\/Al-Ard, The*<\/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>\nMy Dinner With the Devil Snake*<\/em><\/td>\nJim Blashfield<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nOggun: An Eternal Presence*<\/em><\/td>\nGloria Rolando<\/td>\nCuba<\/td>\n<\/tr>\n
<\/td>\nPicc Mi\/Little Bird*<\/em><\/td>\nMansour Sora Wade<\/td>\nSenegal<\/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
\n
\n<\/td>\n<\/tr>\n
2000<\/td>\nBab El-Oued City*<\/em><\/td>\nMerzak Allouache<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nCrossroads of People*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nDestiny*<\/em><\/td>\nYoussef Chahine<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nFools<\/em><\/td>\nRamadan Suleman<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nHeritage Africa*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nHoney and Ashes*<\/em><\/td>\nNadia Fares<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nKirikou & the Sorceress*<\/em><\/td>\nMichel Ocelot<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nLast Angel of History, The*<\/em><\/td>\nJohn Akomfrah<\/td>\nGhana\/UK<\/td>\n<\/tr>\n
<\/td>\nLife on Earth*<\/em><\/td>\nAbderrahmane Sissako<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nLove Brewed in the African Pot*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nMaangamizi*<\/em><\/td>\nMulvihill, Mhando<\/td>\nTanzania<\/td>\n<\/tr>\n
<\/td>\nPi\u00e8ces d’Identit\u00e9s\/ID*<\/em><\/td>\nMweze Ngangura<\/td>\nCongo DRC<\/td>\n<\/tr>\n
<\/td>\nSaikati the Enkabaani*<\/em><\/td>\nAnne G. Mungai<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nTumult\/Gir-Gir<\/em><\/td>\nYemane I. Demissie<\/td>\nEthiopia<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2001<\/td>\nBattle of the Sacred Tree, The*<\/em><\/td>\nWanjiru Kinyanjui<\/td>\nKenya<\/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>\nDolly and The Inkspots*<\/em><\/td>\nJurgen Schadeberg<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nFamily Across the Sea*<\/em><\/td>\nTim Carrier<\/td>\nSierra Leone\/USA<\/td>\n<\/tr>\n
<\/td>\nFintar O Destino*<\/em><\/td>\nFernando Vendrell<\/td>\nCape Verde<\/td>\n<\/tr>\n
<\/td>\nGenesis*<\/em><\/td>\nCheick Oumar Sissoko<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nHalfaouine*<\/em><\/td>\nFerid Boughedir<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nHead in the Clouds*<\/em><\/td>\nJean-Marie Teno<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nHyenas*<\/em><\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nJim Comes to Jo’burg*<\/em><\/td>\nDonald Swanson<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nKafi’s Story*<\/em><\/td>\nArthur Howes<\/td>\nSudan\/UK<\/td>\n<\/tr>\n
<\/td>\nKirikou and the Sorceress*<\/em><\/td>\nMichel Ocelot<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nLanguage You Cry In, The*<\/em><\/td>\nA. Toepke, Serrano<\/td>\nSierra Leone\/Spain<\/td>\n<\/tr>\n
<\/td>\nLe Franc*<\/em><\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nLittle Girl Who Sold the Sun, The*<\/em><\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/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
<\/td>\nMossane<\/em><\/td>\nSafi Faye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nNuba Conversations*<\/em><\/td>\nArthur Howes<\/td>\nSudan\/UK<\/td>\n<\/tr>\n
<\/td>\nSambizanga<\/em><\/td>\nSarah Maldoror<\/td>\nAngola<\/td>\n<\/tr>\n
<\/td>\nTouki Bouki*<\/em><\/td>\nDjibril Diop Mambety<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nYellow Card*<\/em><\/td>\nJohn Riber<\/td>\nZimbabwe<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2002<\/td>\nA Door to the Sky*<\/em><\/td>\nFarida Ben Lyzaid<\/td>\nMorocco<\/td>\n<\/tr>\n
<\/td>\nAdanggaman<\/em><\/td>\nRoger Gnoan M’Bala<\/td>\nIvory Coast<\/td>\n<\/tr>\n
<\/td>\nBoesman and Lena*<\/em><\/td>\nJohn Berry<\/td>\nSouth Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nBopha!<\/em><\/td>\nMorgan Freeman<\/td>\nSouth Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nDakan\/Destiny*<\/em><\/td>\nMohamed Camara<\/td>\nGuinea<\/td>\n<\/tr>\n
<\/td>\nDiamonds, Guns…Sierra Leone & Women’s Peace Movement*<\/em><\/td>\nJan Haaken<\/td>\nSierra Leone\/USA<\/td>\n<\/tr>\n
<\/td>\nEndurance<\/em><\/td>\nLeslie Woodhead<\/td>\nEthiopia\/USA<\/td>\n<\/tr>\n
<\/td>\nFaat Kine*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nLumumba*<\/em><\/td>\nRaoul Peck<\/td>\nCongo DRC\/Haiti<\/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>\nOur Friends at the Bank*<\/em><\/td>\nPeter Chappell<\/td>\nUganda\/France<\/td>\n<\/tr>\n
<\/td>\nOut in Africa*<\/em><\/td>\nJohnny Symons<\/td>\nSouth Africa\/Zim\/USA<\/td>\n<\/tr>\n
<\/td>\nSeason of Men, The<\/em><\/td>\nMoufida Tlatli<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nSirga: The Lion Child<\/em><\/td>\nPatrick Grandperret<\/td>\nIvory Coast\/Mali\/France<\/td>\n<\/tr>\n
<\/td>\nSteve Biko: Beacon of Hope*<\/em><\/td>\nNkosinathi Biko<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nT.G.V.<\/em><\/td>\nMoussa Tour\u00e9<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nThunderbolt*<\/em><\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nWoubi Cheri*<\/em><\/td>\nP. Brooks, L. Bocahut<\/td>\nIvory Coast\/France<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2003<\/td>\nAdwa: An African Victory*<\/em><\/td>\nHaile Gerima<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nBilalian<\/em><\/td>\nAminah AbdulJabbaar<\/td>\nUSA\/Senegal\/Gambia<\/td>\n<\/tr>\n
<\/td>\nCamp at Thiaroye*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nChristopher Changes His Name<\/em><\/td>\nCilia Sawadogo<\/td>\nBurkina Faso\/Canada<\/td>\n<\/tr>\n
<\/td>\nClosed Doors, The*<\/em><\/td>\nAtef Hetata<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nCora Player, The<\/em><\/td>\nCilia Sawadogo<\/td>\nBurkina Faso\/Canada<\/td>\n<\/tr>\n
<\/td>\nDaresalam*<\/em><\/td>\nIssa Serge Coelo<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nIt’s My Life*<\/em><\/td>\nBrian Tilley<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nKarmen Ge\u00ef*<\/em><\/td>\nJoseph Ga\u00ef Ramaka<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nKirikou & 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>\nMiddle Passage*<\/em><\/td>\nGuy Deslauriers<\/td>\nMartinique<\/td>\n<\/tr>\n
<\/td>\nNaguib Mahfouz*<\/em><\/td>\nFrancka Mouloudi<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nNelio’s Story*<\/em><\/td>\nSolveig Nordlund<\/td>\nMozambique\/Sweden<\/td>\n<\/tr>\n
<\/td>\nSankofa*<\/em><\/td>\nHaile Gerima<\/td>\nGhana\/Jamaica\/USA<\/td>\n<\/tr>\n
<\/td>\nSatin Rouge<\/em><\/td>\nRaja Amari<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nScenarios from the Sahel*<\/em><\/td>\nWest African directors<\/td>\nMali\/Senegal\/B. Faso<\/td>\n<\/tr>\n
<\/td>\nSia, The Myth of the Python*<\/em><\/td>\nDani Kouyat\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nUmm Kulthum, A Voice Like Egypt*<\/em><\/td>\nMichal Goldman<\/td>\nEgypt<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2004<\/td>\nA Summer in La Goulette*<\/em><\/td>\nF\u00e9rid Boughedir<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nAbouna\/Our Father*<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nAli Zaoua: Prince of the Stree<\/em><\/td>\nNabil Ayouch<\/td>\nMorocco<\/td>\n<\/tr>\n
<\/td>\nAmandla! Revolution in Four-Part Harmony*<\/em><\/td>\nLee Hirsch<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nBeat of Distant Hearts, The*<\/em><\/td>\nDanielle Smith<\/td>\nWestern Sahara\/Algeria<\/td>\n<\/tr>\n
<\/td>\nBenjamin & His Brother*<\/em><\/td>\nArthur Howes<\/td>\nSudan\/UK\/USA<\/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>\nImperfect Journey*<\/em><\/td>\nHaile Gerima<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nInch’Allah Dimanche*<\/em><\/td>\nYamina Benguigui<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nLittle Senegal*<\/em><\/td>\nRachid Bouchareb<\/td>\nAlgeria\/Senegal\/USA<\/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>\nMan by the Shore, The*<\/em><\/td>\nRaoul Peck<\/td>\nHaiti<\/td>\n<\/tr>\n
<\/td>\nNightjohn*<\/em><\/td>\nCharles Burnett<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nPrice of Forgiveness, The*<\/em><\/td>\nMansour Sora Wade<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nSong of Umm Dalaila, The*<\/em><\/td>\nDanielle Smith<\/td>\nWestern Sahara\/Algeria<\/td>\n<\/tr>\n
<\/td>\nWaiting for Happiness*<\/em><\/td>\nAbderrahmane Sissako<\/td>\nMauritania<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2005<\/td>\nAfro@Digital*<\/em><\/td>\nBakupa-Kanyinda<\/td>\nCongo DRC\/France<\/td>\n<\/tr>\n
<\/td>\nBaara\/The Porter*<\/em><\/td>\nSouleymane Ciss\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nCosmic Africa*<\/em><\/td>\nCraig & Damon Foster<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nDaughters of the Dust*<\/em><\/td>\nJulie Dash<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nD\u00f4l\u00e8\/Money*<\/em><\/td>\nImunga Ivanga<\/td>\nGabon<\/td>\n<\/tr>\n
<\/td>\nFather, The *<\/em><\/td>\nErmias Woldeamlak<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nFinye\/The Wind*<\/em><\/td>\nSouleymane Ciss\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nForest, The*<\/em><\/td>\nB. Kobhio, Ou\u00e9nangar\u00e9<\/td>\nCAR\/Cameroon\/Gabon<\/td>\n<\/tr>\n
<\/td>\nLife & Times of Sara Baartman, The*<\/em><\/td>\nZola Maseko<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nMadame Brouette<\/em><\/td>\nMoussa Sene Absa<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nMarriage of Mariamu, The*<\/em><\/td>\nR. Mulvihill, N. Ng’oge<\/td>\nTanzania\/USA<\/td>\n<\/tr>\n
<\/td>\nMoolaad\u00e9<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/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>\nRachida*<\/em><\/td>\nYamina Bachir-Chouikh<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nReturn of Sara Baartman, The*<\/em><\/td>\nZola Maseko<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nShanda*<\/em><\/td>\nJohn & Louise Riber<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nSisters of the Screen*<\/em><\/td>\nBeti Ellerson<\/td>\nWest Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nSoldiers of the Rock*<\/em><\/td>\nNorman Maake<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nSurrender*<\/em><\/td>\nCeline Gilbert<\/td>\nTanzania<\/td>\n<\/tr>\n
<\/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
\n
\n<\/td>\n<\/tr>\n
2006<\/td>\nAfrica: Open for Business<\/em><\/td>\nCarol Pineau<\/td>\nVarious African countries<\/td>\n<\/tr>\n
<\/td>\nAll About Darfur*<\/em><\/td>\nTaghreed Elsanhouri<\/td>\nSudan\/UK<\/td>\n<\/tr>\n
<\/td>\nBall, The*<\/em><\/td>\nOrlando Mesquita<\/td>\nMozambique<\/td>\n<\/tr>\n
<\/td>\nComing to England<\/em><\/td>\nKeith Taylor<\/td>\nTrinidad\/UK<\/td>\n<\/tr>\n
<\/td>\nDarwin’s Nightmare<\/em><\/td>\nHubert Sauper<\/td>\nTanzania\/Austria\/France<\/td>\n<\/tr>\n
<\/td>\nForgotten Root, The*<\/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>\nHeritage*<\/em><\/td>\nLadi Ladebo<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nHero \/ O Heroi, The*<\/em><\/td>\nZ\u00e9z\u00e9 Gamboa<\/td>\nAngola<\/td>\n<\/tr>\n
<\/td>\nHollow City*<\/em><\/td>\nMaria Jo\u00e3o Ganga<\/td>\nMozambique<\/td>\n<\/tr>\n
<\/td>\nHot Chili*<\/em><\/td>\nMoabi Mogorosi<\/td>\nBotswana<\/td>\n<\/tr>\n
<\/td>\nIn Rwanda We Say\u2026*<\/em><\/td>\nAnne Aghion<\/td>\nRwanda<\/td>\n<\/tr>\n
<\/td>\nKare Kare Zvako*<\/em><\/td>\nTsitsi Dangarembga<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nKeepers of Memory*<\/em><\/td>\nEric Kabera<\/td>\nRwanda<\/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>\nKuxa Kanema\/The Birth of Cinema*<\/em><\/td>\nMargarida Cardoso<\/td>\nMozambique<\/td>\n<\/tr>\n
<\/td>\nLiving with Slim: Kids Talk about AIDS*<\/em><\/td>\nSam Kauffmann<\/td>\nUganda<\/td>\n<\/tr>\n
<\/td>\nMaluala*<\/em><\/td>\nSergio Giral<\/td>\nCuba<\/td>\n<\/tr>\n
<\/td>\nOther World, The*<\/em><\/td>\nMerzak Allouache<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nSky in Her Eyes, The*<\/em><\/td>\nO. Smit, M. Ncayiyana<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nSometimes in April*<\/em><\/td>\nRaoul Peck<\/td>\nRwanda<\/td>\n<\/tr>\n
<\/td>\nSophia’s Homecoming*<\/em><\/td>\nRichard Pakleppa<\/td>\nNamibia<\/td>\n<\/tr>\n
<\/td>\nState of Denial*<\/em><\/td>\nElaine Epstein<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nTahara*<\/em><\/td>\nSara Rashad<\/td>\nUSA\/Egypt<\/td>\n<\/tr>\n
<\/td>\nTasuma, The Fighter*<\/em><\/td>\nDaniel Kollo Sanou<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nWelcome to Mali<\/em><\/td>\nPenda Diakit\u00e9<\/td>\nUSA\/Mali<\/td>\n<\/tr>\n
<\/td>\nYesterday<\/em><\/td>\nDarrell Roodt<\/td>\nSouth Africa<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2007<\/td>\nA Child’s Love Story*<\/em><\/td>\nBen Diogaye Beye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nAl’l\u00e8\u00e8ssi\u2026An African Actress*<\/em><\/td>\nRahmatou Keita<\/td>\nNiger<\/td>\n<\/tr>\n
<\/td>\nBedwin Hacker*<\/em><\/td>\nNadia El Fani<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nBlack Gold*<\/em><\/td>\nM. Francis, N. Francis<\/td>\nUK\/Ethiopia<\/td>\n<\/tr>\n
<\/td>\nBorders\/Fronti\u00e8res*<\/em><\/td>\nMostefa Djadjam<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nCrossroads of People*<\/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>\nDrum*<\/em><\/td>\nZola Maseko<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nGolden Stool, The*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nKirikou and the Wild Beasts<\/em><\/td>\nM. Ocelot, B. Galup<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nKuxa Kanema: The Birth of Cinema*<\/em><\/td>\nMargarida Cardoso<\/td>\nMozambique<\/td>\n<\/tr>\n
<\/td>\nLove Brewed in the African Pot*<\/em><\/td>\nKwaw P. Ansah<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nNha Fala\/My Voice*<\/em><\/td>\nFlora Gomes<\/td>\nGuinea Bissau<\/td>\n<\/tr>\n
<\/td>\nNight of Truth, The*<\/em><\/td>\nFanta R\u00e9gina Nacro<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nOchre and Water*<\/em><\/td>\nC. Matthew, J Chesselet<\/td>\nNamibia<\/td>\n<\/tr>\n
<\/td>\nScent of Oak\/Roble de Olor<\/em><\/td>\nRigoberto L\u00f3pez Pego<\/td>\nCuba<\/td>\n<\/tr>\n
<\/td>\nSisters In Law*<\/em><\/td>\nK. Longinotto, F. Ayisi<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nThat’s My Face\/\u00c9 Minha Cara*<\/em><\/td>\nThomas Allen Harris<\/td>\nUSA\/Brazil<\/td>\n<\/tr>\n
<\/td>\nTsotsi*<\/em><\/td>\nGavin Hood<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nTwelve Disciples of Nelson Mandela*<\/em><\/td>\nThomas Allen Harris<\/td>\nUSA\/South Africa<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2008<\/td>\n34 South*<\/em><\/td>\nMaganthrie Pillay<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nAlex’s Wedding<\/em><\/td>\nJean-Marie Teno<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nBamako*<\/em><\/td>\nAbderrahmane Sissako<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nBlack Girl\/La Noire de\u2026*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nBorom Sarret*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nColonial Misunderstanding*<\/em><\/td>\nJean-Marie Teno<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nDaratt\/Dry Season*<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nDays of Glory\/Indig\u00e8nes<\/em><\/td>\nRachid Bouchareb<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nDevil Came on Horseback, The<\/em><\/td>\nSundberg,Stern<\/td>\nSudan\/USA<\/td>\n<\/tr>\n
<\/td>\nEzra*<\/em><\/td>\nNewton Aduaka<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nGuelwaar*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nIn the Shadow of Hollywood*<\/em><\/td>\nBrad Osborne<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nKinshasa Palace<\/em><\/td>\nZeka Laplaine<\/td>\nCongo DRC\/France<\/td>\n<\/tr>\n
<\/td>\nLegend of the Sky Kingdom, The*<\/em><\/td>\nRoger Hawkins<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nLion Mountains, The*<\/em><\/td>\nLouis Buckley<\/td>\nSierra Leone\/UK<\/td>\n<\/tr>\n
<\/td>\nMasa\u00ef : The Rain Warriors*<\/em><\/td>\nPascal Plisson<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nMoving to the Beat<\/em><\/td>\nHeymann, Fofanah<\/td>\nSierra Leone\/USA<\/td>\n<\/tr>\n
<\/td>\nNarrow Path, The*<\/em><\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nRed Glasses, The<\/em><\/td>\nYinka Djin<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nSweet Crude<\/em><\/td>\nSandy Cioffi<\/td>\nNigeria\/USA<\/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>\nWooden Camera, The<\/em><\/td>\nNtshavheni wa Luruli<\/td>\nSouth Africa<\/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>\nA Love During the War<\/em><\/a><\/td>\nOsvalde Lewat-Hallade<\/td>\nCongo DRC\/Cameroon<\/td>\n<\/tr>\n
<\/td>\nAbeni<\/a>*<\/em><\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nAfrica Paradis<\/em><\/a><\/td>\nSylvestre Amoussou<\/td>\nBenin\/France<\/td>\n<\/tr>\n
<\/td>\nAs Old As My Tongue \u2013 Bi Kidude<\/a>*<\/em><\/td>\nAndy Jones<\/td>\nTanzania\/UK<\/td>\n<\/tr>\n
<\/td>\nAwaiting for Men<\/a>*<\/em><\/td>\nKaty L\u00e9na N’Diaye<\/td>\nMauritania\/Belgium<\/td>\n<\/tr>\n
<\/td>\nAzur & Asmar<\/a>*<\/em><\/td>\nMichel Ocelot<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nBab’Aziz<\/a>*<\/em><\/td>\nNacer Khemir<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nClouds Over Conakry<\/em><\/a><\/td>\nCheick F. Camara<\/td>\nGuinea<\/td>\n<\/tr>\n
<\/td>\nCuba: An African Odyssey<\/em><\/a><\/td>\nJihan El-Tahri<\/td>\nFrance\/Egypt<\/td>\n<\/tr>\n
<\/td>\nDeath of Two Sons<\/a>*<\/em><\/td>\nMicah Schaffer<\/td>\nUSA\/Guinea<\/td>\n<\/tr>\n
<\/td>\nEnough!\/Barakat!<\/a>*<\/em><\/td>\nDjamila Sahraoui<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nFallen Beats, The<\/a>*<\/em><\/td>\nDhaba Wayessa<\/td>\nEthiopia\/USA<\/td>\n<\/tr>\n
<\/td>\nFESPACO<\/a>*<\/em><\/td>\nKevin Arcadie<\/td>\nBurkina Faso\/USA<\/td>\n<\/tr>\n
<\/td>\nIron Ladies of Liberia<\/a>*<\/em><\/td>\nS. S. Johnson, D. Junge<\/td>\nLiberia\/USA<\/td>\n<\/tr>\n
<\/td>\nMenged<\/a>*<\/em><\/td>\nDaniel Taye Workou<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nMeokgo & the Stick Fighter<\/a>*<\/em><\/td>\nTeboho Mahlatsi<\/td>\nSouth Africa\/Lesotho<\/td>\n<\/tr>\n
<\/td>\nMeteni The Lost One<\/a>*<\/em><\/td>\nWondwossen Deress<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nNamibia: The Struggle for Liberation<\/em><\/a><\/td>\nCharles Burnett<\/td>\nNamibia<\/td>\n<\/tr>\n
<\/td>\nNightjohn<\/a>*<\/em><\/td>\nCharles Burnett<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nNo Time To Die<\/em><\/a><\/td>\nKing Ampaw<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nTaarab: An Ocean of Melodies<\/a>*<\/em><\/td>\nAbdulkadir Ahmed Said<\/td>\nTanzania\/South Africa<\/td>\n<\/tr>\n
<\/td>\nWorld Unseen, The<\/em><\/a><\/td>\nShamim Sarif<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nZa\u00efna: Rider of the Atlas<\/em><\/a><\/td>\nBourlem Guerdjou<\/td>\nMorocco<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2010<\/td>\nAdieu M\u00e8res\/Goodbye Mothers<\/a>*<\/em><\/td>\nMohamed Ismail<\/td>\nMorocco<\/td>\n<\/tr>\n
<\/td>\nAdios Momo<\/a>*<\/em><\/td>\nLeonardo Ricagni<\/td>\nUruguay<\/td>\n<\/tr>\n
<\/td>\nBehind the Rainbow<\/em><\/a><\/td>\nJihan El-Tahri<\/td>\nS. Africa\/Egypt\/France<\/td>\n<\/tr>\n
<\/td>\nComing of Age<\/a>*<\/em><\/td>\nJudy Kibinge<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nDemocracy in Dakar<\/a>*<\/em><\/td>\nHerson et al.<\/td>\nSenegal\/USA<\/td>\n<\/tr>\n
<\/td>\nDivizionz<\/em><\/a>*<\/td>\nYes! That’s Us<\/td>\nUganda<\/td>\n<\/tr>\n
<\/td>\nFighting Spirit, The<\/a>*<\/em><\/td>\nGeorge Amponsah<\/td>\nGhana\/UK<\/td>\n<\/tr>\n
<\/td>\nFrom a Whisper<\/a>*<\/em><\/td>\nWanuri Kahiu<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nMovement (R)Evolution Africa<\/em><\/a><\/td>\nJoan Frosch<\/td>\nAfrican countries\/USA<\/td>\n<\/tr>\n
<\/td>\nMy Neighbor, My Killer<\/a>*<\/em><\/td>\nAnne Aghion<\/td>\nRwanda\/France<\/td>\n<\/tr>\n
<\/td>\nNora<\/em><\/a><\/td>\nA. Kovgan, D. Hinton<\/td>\nMozambique\/USA<\/td>\n<\/tr>\n
<\/td>\nNothing But the Truth<\/a>*<\/em><\/td>\nJohn Kani<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nObara & the Merchants<\/em><\/a><\/td>\nManauvaskar Kublall<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nParis or Nothing<\/em><\/a><\/td>\nJos\u00e9phine Ndagnou<\/td>\nCameroon\/France<\/td>\n<\/tr>\n
<\/td>\nPrincess of the Sun<\/em><\/a><\/td>\nPhilippe Leclerc<\/td>\nFrance<\/td>\n<\/tr>\n
<\/td>\nSankofa<\/a>*<\/em><\/td>\nHaile Gerima<\/td>\nGhana\/Jamaica\/USA<\/td>\n<\/tr>\n
<\/td>\nSenegalese Women & Islam<\/a>*<\/em><\/td>\nAng\u00e8le Diabang Brener<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nSex, Okra & Salted Butter<\/em><\/a><\/td>\nMahamat-Saleh Haroun<\/td>\nChad\/France<\/td>\n<\/tr>\n
<\/td>\nTeza<\/em><\/a><\/td>\nHaile Gerima<\/td>\nEthiopia\/Germany<\/td>\n<\/tr>\n
<\/td>\nWater First<\/a>*<\/em><\/td>\nAmy Hart<\/td>\nMalawi\/USA<\/td>\n<\/tr>\n
<\/td>\nWrestling Grounds<\/a>*<\/em><\/td>\nCheikh A. Ndiaye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nYacoubian Building, The<\/em><\/a><\/td>\nMarwan Hamed<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nYand\u00e9 Codou<\/a>*<\/em><\/td>\nAng\u00e8le Diabang Brener<\/td>\nSenegal<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2011<\/td>\nA Screaming Man<\/a>*<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nAbouna\/Our Father<\/a>*<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nChad<\/td>\n<\/tr>\n
<\/td>\nArugba<\/a>*<\/em><\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nAthlete, The<\/em><\/a><\/td>\nR. Lakew, D. Frankel<\/td>\nEthiopia<\/td>\n<\/tr>\n
<\/td>\nBurning in the Sun<\/a>*<\/em><\/td>\nC. Matlow, M.Robinson<\/td>\nMali\/USA<\/td>\n<\/tr>\n
<\/td>\nFantan Fanga\/Power of the Poor<\/em><\/a><\/td>\nA. Drabo, L. Diakit\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nImani<\/em><\/a><\/td>\nCaroline Kamya<\/td>\nUganda<\/td>\n<\/tr>\n
<\/td>\nIn My Genes<\/a>*<\/em><\/td>\nLupita Nyong’o<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nLes Saignantes\/The Bloodettes<\/a>*<\/em><\/td>\nJean-Pierre B\u00e9kolo<\/td>\nCameroon<\/td>\n<\/tr>\n
<\/td>\nMasquerades<\/a>*<\/em><\/td>\nLy\u00e8s Salem<\/td>\nAlgeria<\/td>\n<\/tr>\n
<\/td>\nMe Broni Ba\/My White Baby<\/a>*<\/em><\/td>\nAkosua Adoma Owusu<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nOusmane\/Deweneti<\/a>*<\/em><\/td>\nDyana Gaye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nPumzi<\/em><\/a><\/td>\nWanuri Kahui<\/td>\nKenya<\/td>\n<\/tr>\n
<\/td>\nSaint Louis Blues<\/a>*<\/em><\/td>\nDyana Gaye<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nSotigui Kouyat\u00e9: A Modern Griot<\/a>*<\/em><\/td>\nMahamat-Saleh Haroun<\/td>\nFrance\/Mali<\/td>\n<\/tr>\n
<\/td>\nStolen<\/a>*<\/em><\/td>\nV. Ayala, D. Fallshaw<\/td>\nAlgeria\/Australia<\/td>\n<\/tr>\n
<\/td>\nStreetball<\/a>*<\/em><\/td>\nDemetrius Wren<\/td>\nSouth Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nWaliden\/Children of Others<\/a>*<\/em><\/td>\nAwa Traor\u00e9<\/td>\nMali<\/td>\n<\/tr>\n
<\/td>\nWhite Lion<\/em><\/a><\/td>\nMichael Swan<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nWhite Wedding<\/a>*<\/em><\/td>\nJann Turner<\/td>\nSouth Africa<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2012<\/td>\nBroken Dreams<\/a>*<\/em><\/td>\nFathia Absie<\/td>\nSomalia\/USA<\/td>\n<\/tr>\n
<\/td>\nFaro, Goddess of the Waters<\/a>*<\/em><\/td>\nSalif Traor\u00e9<\/td>\nMali\/Burkina\/Canada\/France<\/td>\n<\/tr>\n
<\/td>\nFor the Best and for the Onion!<\/a>*<\/em><\/td>\nElhadj Magori Sani<\/td>\nNiger<\/td>\n<\/tr>\n
<\/td>\nHopeville<\/a>*<\/em><\/td>\nJohn Trengove<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nI Sing of a Well<\/a>*<\/em><\/td>\nLeila Djansi<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nKinshasa Symphony<\/a>*<\/em><\/td>\nC. Wischmann, M. Baer<\/td>\nCongo DRC\/Germany<\/td>\n<\/tr>\n
<\/td>\nLetter: An American Town & “The Somali Invasion,\u201d The<\/a>* <\/em><\/td>\nZiad H. Hamzeh<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nManuscripts of Timbuktu, The<\/a>*<\/em><\/td>\nZola Maseko<\/td>\nMali\/South Africa<\/td>\n<\/tr>\n
<\/td>\nPerfect Picture<\/a>*<\/em><\/td>\nShirley Frimpong-Manso<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nRestless City<\/a>*<\/em><\/td>\nAndrew Dosunmu<\/td>\nUSA\/Nigeria<\/td>\n<\/tr>\n
<\/td>\nScheherazade, Tell Me a Story<\/a>*<\/em><\/td>\nYousry Nasrallah<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nSeasons of a Life<\/a>*<\/em><\/td>\nCharles Shemu Joyah<\/td>\nMalawi<\/td>\n<\/tr>\n
<\/td>\nSleepwalking Land \/ Terra Sonambula<\/a>*<\/em><\/td>\nTeresa Prata<\/td>\nMozambique<\/td>\n<\/tr>\n
<\/td>\nState of Violence<\/em><\/a><\/td>\nKhalo Matabane<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nTinga Tinga Tales<\/a>*<\/em><\/td>\nTinga Tinga Arts Coop<\/td>\nKenya\/UK<\/td>\n<\/tr>\n
<\/td>\nViva Riva!<\/a>*<\/em><\/td>\nDjo Tunda Wa Munga<\/td>\nCongo DRC<\/td>\n<\/tr>\n
<\/td>\nWar Don Don<\/a>*<\/em><\/td>\nRebecca Richman Cohen<\/td>\nSierra Leone\/USA<\/td>\n<\/tr>\n
<\/td>\nWhy Are They Here? Chinese Stories in Africa<\/em><\/a><\/td>\nYara Costa<\/td>\nGhana\/Lesotho\/Mozambique<\/td>\n<\/tr>\n
<\/td>\nWhy Mosquitoes Buzz & More Stories from Africa<\/a><\/em><\/td>\nGene Deitch<\/td>\nUSA<\/td>\n<\/tr>\n
<\/td>\nZimbabwe’s Forgotten Children<\/a>*<\/em><\/td>\nJezza Neuman<\/td>\nZimbabwe\/UK<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2013<\/td>\nA Lot Like You<\/a>*<\/em><\/td>\nEliaichi Kimaro<\/td>\nTanzania\/USA<\/td>\n<\/tr>\n
<\/td>\nAn African Election<\/a>*<\/em><\/td>\nJarreth Merz<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nBenda Bilili!<\/a>*<\/em><\/td>\nR. Barret, F. de la Tullaye<\/td>\nCongo DRC<\/td>\n<\/tr>\n
<\/td>\nBlack Mozart in Cuba, The<\/a>*<\/em><\/td>\nSteve James<\/td>\nGuadeloupe<\/td>\n<\/tr>\n
<\/td>\nEducation of Auma Obama, The<\/a>*<\/em><\/td>\nBranwen Okpako<\/td>\nKenya\/Germany\/Nigeria<\/td>\n<\/tr>\n
<\/td>\nElza<\/a>*<\/em><\/td>\nMariette Monpierre<\/td>\nGuadeloupe<\/td>\n<\/tr>\n
<\/td>\nGrey Matter<\/a><\/em><\/td>\nKivu Ruhorahoza<\/td>\nRwanda<\/td>\n<\/tr>\n
<\/td>\nInside Story<\/a><\/em><\/td>\nRolie Nikiwe<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nLe Mozart Noir: Reviving a Legend<\/a>*<\/em><\/td>\nRaymond Saint-Jean<\/td>\nCanada<\/td>\n<\/tr>\n
<\/td>\nMaami<\/a>*<\/em><\/td>\nTunde Kelani<\/td>\nNigeria<\/td>\n<\/tr>\n
<\/td>\nMicrophone<\/a>*<\/em><\/td>\nAhmad Abdallah<\/td>\nEgypt<\/td>\n<\/tr>\n
<\/td>\nMwansa the Great<\/a>*<\/em><\/td>\nRungano Nyoni<\/td>\nZambia<\/td>\n<\/tr>\n
<\/td>\nOtelo Burning<\/a>*<\/em><\/td>\nSarah Blecher<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nPegasus<\/a><\/em><\/td>\nMohamed Mouftakir<\/td>\nMorocco<\/td>\n<\/tr>\n
<\/td>\nPlaying Warriors<\/a>*<\/em><\/td>\nRumbi Katedza<\/td>\nZimbabwe<\/td>\n<\/tr>\n
<\/td>\nRouge Parole<\/a>*<\/em><\/td>\nElyes Baccar<\/td>\nTunisia<\/td>\n<\/tr>\n
<\/td>\nStockton X: South Africa<\/a>*<\/em><\/td>\nT. Goitom, B. Taft<\/td>\nSouth Africa\/Ethiopia\/Sweden<\/td>\n<\/tr>\n
<\/td>\nTanti and the Neighborhood Kids<\/a><\/em><\/td>\nPenda Diakit\u00e9<\/td>\nMali\/USA<\/td>\n<\/tr>\n
<\/td>\nTey<\/a>*<\/em><\/td>\nAlain Gomis<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nTies That Bind<\/a>*<\/em><\/td>\nLeila Djansi<\/td>\nGhana<\/td>\n<\/tr>\n
<\/td>\nToussaint Louverture<\/a>*<\/em><\/td>\nPhilippe Niang<\/td>\nFrance\/Haiti<\/td>\n<\/tr>\n
<\/td>\nZarafa<\/a>*<\/em><\/td>\nR\u00e9mi Bezan\u00e7on<\/td>\nFrance\/Belgium<\/td>\n<\/tr>\n
\n
\n<\/td>\n<\/tr>\n
2014<\/td>\nAfrican Drum, Beyond the Beat<\/a>*<\/em><\/td>\nTariq Richards<\/td>\nWest African Countries\/South Africa\/UK<\/td>\n<\/tr>\n
<\/td>\nBorom Sarret<\/a>*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nDear Mandela<\/a>*<\/em><\/td>\nDara Kell and Christopher Nizza<\/td>\nSouth Africa\/USA<\/td>\n<\/tr>\n
<\/td>\nFaat Kine<\/a>*<\/em><\/td>\nOusmane Semb\u00e8ne<\/td>\nSenegal<\/td>\n<\/tr>\n
<\/td>\nFanie Fourie’s Lobola<\/a><\/em><\/td>\nHenk Pretorius<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nGod Loves Uganda<\/a><\/em><\/td>\nRoger Ross Williams<\/td>\nUganda\/USA<\/td>\n<\/tr>\n
<\/td>\nGrigris<\/a>*<\/td>\nMahamat-Saleh Haroun<\/td>\nChad\/France<\/td>\n<\/tr>\n
<\/td>\nKhumba<\/a>*<\/td>\nAnthony Silverstein<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nLa Pirogue<\/a>*<\/td>\nMoussa Tour\u00e9<\/td>\nSenegal\/France\/Germany<\/td>\n<\/tr>\n
<\/td>\nLast Flight to Abuja<\/a>*<\/td>\nObi Emelonye<\/td>\nNigeria\/UK<\/td>\n<\/tr>\n
<\/td>\nMan on Ground<\/a>*<\/td>\nAkin Omotoso<\/td>\nSouth Africa<\/td>\n<\/tr>\n
<\/td>\nMoi Zaphira!<\/a>*<\/td>\nApolline Traor\u00e9<\/td>\nBurkina Faso<\/td>\n<\/tr>\n
<\/td>\nMother of George<\/a>*<\/td>\nAndrew Dosunmu<\/td>\nUSA\/Nigeria<\/td>\n<\/tr>\n
<\/td>\nNairobi Half-Life<\/a><\/td>\nDavid Tosh Gitonga<\/td>\nKenya\/Germany<\/td>\n<\/tr>\n
<\/td>\nOn the Edge<\/a><\/td>\nLeila Kilani<\/td>\nMorocco\/France\/Germany<\/td>\n<\/tr>\n
<\/td>\nSand Fishers<\/a>*<\/td>\nSamout\u00e9 Andrey Diarra<\/td>\nMali\/France<\/td>\n<\/tr>\n
<\/td>\nSoul Boy<\/a><\/td>\nHawa Essuman<\/td>\nKenya\/Germany<\/td>\n<\/tr>\n
<\/td>\nThe Square \/ Al Midan<\/a><\/td>\nEgypt\/USA<\/td>\nEgypt\/USA<\/td>\n<\/tr>\n
<\/td>\nVirgin Margarida<\/a>*<\/td>\nLicinio Azevedo<\/td>\nMozambique<\/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. The African 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. 2014 […]<\/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\/2015\/wp-json\/wp\/v2\/pages\/85","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.africanfilmfestival.org\/2015\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.africanfilmfestival.org\/2015\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.africanfilmfestival.org\/2015\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.africanfilmfestival.org\/2015\/wp-json\/wp\/v2\/comments?post=85"}],"version-history":[{"count":32,"href":"https:\/\/www.africanfilmfestival.org\/2015\/wp-json\/wp\/v2\/pages\/85\/revisions"}],"predecessor-version":[{"id":2827,"href":"https:\/\/www.africanfilmfestival.org\/2015\/wp-json\/wp\/v2\/pages\/85\/revisions\/2827"}],"up":[{"embeddable":true,"href":"https:\/\/www.africanfilmfestival.org\/2015\/wp-json\/wp\/v2\/pages\/1045"}],"wp:attachment":[{"href":"https:\/\/www.africanfilmfestival.org\/2015\/wp-json\/wp\/v2\/media?parent=85"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}