Africadelic2025: Online Film Program

May 21-31, 2025 | 40+ curated titles | 12 festival exclusives

The 𝗔𝗳𝗿𝗶𝗰𝗮𝗱𝗲𝗹𝗶𝗰 𝗙𝗲𝘀𝘁𝗶𝘃𝗮𝗹 𝟮𝟬𝟮𝟱 will take place from 𝗠𝗮𝘆 𝟮𝟭-𝟯𝟭 across venues in 𝗔𝗺𝘀𝘁𝗲𝗿𝗱𝗮𝗺 and 𝗼𝗻𝗹𝗶𝗻𝗲. This year, our friends from 𝗔𝗳𝗿𝗶𝗰𝗮𝗱𝗲𝗹𝗶𝗰 focus on the 𝟱𝟬𝘁𝗵 𝗮𝗻𝗻𝗶𝘃𝗲𝗿𝘀𝗮𝗿𝘆 𝗼𝗳 𝗶𝗻𝗱𝗲𝗽𝗲𝗻𝗱𝗲𝗻𝗰𝗲 of five African countries – 𝗔𝗻𝗴𝗼𝗹𝗮 🇦🇴, 𝗖𝗮𝗽𝗲 𝗩𝗲𝗿𝗱𝗲 🇨🇻, 𝗖𝗼𝗺𝗼𝗿𝗼𝘀 🇰🇲, 𝗠𝗼𝘇𝗮𝗺𝗯𝗶𝗾𝘂𝗲 🇲🇿, and 𝗦𝗮𝗼 𝗧𝗼𝗺𝗲 & 𝗣𝗿𝗶𝗻𝗰𝗶𝗽𝗲 🇸🇹 – as well as 𝗦𝘂𝗿𝗶𝗻𝗮𝗺𝗲 🇸🇷. During the festival, they will reflect on the 𝗮𝗻𝘁𝗶-𝗰𝗼𝗹𝗼𝗻𝗶𝗮𝗹 𝘀𝘁𝗿𝘂𝗴𝗴𝗹𝗲𝘀 𝗮𝗻𝗱 𝗶𝗻𝗱𝗲𝗽𝗲𝗻𝗱𝗲𝗻𝗰𝗲 𝗺𝗼𝘃𝗲𝗺𝗲𝗻𝘁𝘀 in these countries to resist and overthrow colonial rule throughout the 20th century and until the present day.

Between 𝗠𝗮𝘆 𝟮𝟭-𝟯𝟭, they’ll present 𝘀𝗶𝘅 𝘀𝗽𝗲𝗰𝗶𝗮𝗹 𝘀𝗰𝗿𝗲𝗲𝗻𝗶𝗻𝗴𝘀 in venues across Amsterdam, along with a major 𝗺𝘂𝘀𝗶𝗰 𝗮𝗻𝗱 𝗱𝗮𝗻𝗰𝗲 𝗲𝘃𝗲𝗻𝘁 at 𝗣𝗮𝗿𝗮𝗱𝗶𝘀𝗼 𝗔𝗺𝘀𝘁𝗲𝗿𝗱𝗮𝗺 on 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆 𝗠𝗮𝘆 𝟮𝟰. Make sure to check out the full program below! In addition to the 𝗼𝗻-𝗹𝗼𝗰𝗮𝘁𝗶𝗼𝗻 𝗽𝗿𝗼𝗴𝗿𝗮𝗺, including 𝘀𝗶𝘅 𝘀𝗽𝗲𝗰𝗶𝗮𝗹 𝘀𝗰𝗿𝗲𝗲𝗻𝗶𝗻𝗴𝘀 in venues across Amsterdam, along with a major 𝗺𝘂𝘀𝗶𝗰 𝗮𝗻𝗱 𝗱𝗮𝗻𝗰𝗲 𝗲𝘃𝗲𝗻𝘁 at 𝗣𝗮𝗿𝗮𝗱𝗶𝘀𝗼 𝗔𝗺𝘀𝘁𝗲𝗿𝗱𝗮𝗺 on 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆 𝗠𝗮𝘆 𝟮𝟰, 𝗔𝗳𝗿𝗶𝗰𝗮𝗱𝗲𝗹𝗶𝗰 is offering a worldwide 𝗼𝗻𝗹𝗶𝗻𝗲 𝗳𝗶𝗹𝗺 𝗽𝗿𝗼𝗴𝗿𝗮𝗺. For 𝘁𝗲𝗻 𝗱𝗮𝘆𝘀, you can watch 𝗼𝘃𝗲𝗿 𝟰𝟬 𝗰𝘂𝗿𝗮𝘁𝗲𝗱 𝘁𝗶𝘁𝗹𝗲𝘀 for free, with a focus on the six countries that are celebrating 𝟱𝟬 𝘆𝗲𝗮𝗿𝘀 𝗼𝗳 𝗶𝗻𝗱𝗲𝗽𝗲𝗻𝗱𝗲𝗻𝗰𝗲 this year as well as 𝗚𝘂𝗶𝗻𝗲𝗮-𝗕𝗶𝘀𝘀𝗮𝘂 🇬🇼, which gained independence in 1973-1974 and played a pivotal role in the 𝗯𝗿𝗼𝗮𝗱𝗲𝗿 𝗱𝗲𝗰𝗼𝗹𝗼𝗻𝗶𝘇𝗮𝘁𝗶𝗼𝗻 𝗼𝗳 𝗣𝗼𝗿𝘁𝘂𝗴𝘂𝗲𝘀𝗲 𝗔𝗳𝗿𝗶𝗰𝗮, especially Angola, Mozambique, Cape Verde, and São Tomé & Príncipe.

In addition to guiding you to 𝗰𝘂𝗿𝗮𝘁𝗲𝗱 𝗰𝗼𝗻𝘁𝗲𝗻𝘁 that is already available online (and available in English), we are presenting 𝟭𝟮 𝗳𝗲𝘀𝘁𝗶𝘃𝗮𝗹 𝗲𝘅𝗰𝗹𝘂𝘀𝗶𝘃𝗲𝘀 on our streaming platform 𝗬𝗮𝗿𝗱𝗩𝗶𝗯𝗲𝘀: 𝟱𝟬 𝗞𝘄𝗮𝗻𝘇𝗮𝘀 (2024), 𝗕𝗿𝗼𝗸𝗼𝗽𝗼𝗻𝗱𝗼: 𝗦𝘁𝗼𝗿𝗶𝗲𝘀 𝗼𝗳 𝗮 𝗗𝗿𝗼𝘄𝗻𝗲𝗱 𝗟𝗮𝗻𝗱 (1994), 𝗖𝗵𝗶𝗹𝗱𝗿𝗲𝗻 𝗼𝗳 𝘁𝗵𝗲 𝗗𝗶𝗮𝘀𝗽𝗼𝗿𝗮 (2024), 𝗗𝗶𝘀𝘀𝗶𝗱𝗲𝗻𝗰𝗲 (1998), 𝗘 𝗗𝗿𝗲𝗱𝗮 𝗦𝗲𝗿 𝗔𝗻𝗴𝗼𝗹𝗮𝗻𝗼 (2008), 𝗘𝗿𝗮 𝗢𝗰𝘂𝗹𝘁𝗮 (2024), 𝗠𝗮𝗯𝗮𝘁𝗮 𝗕𝗮𝘁𝗮 (2018), 𝗡𝗲𝘄 𝗟𝗶𝗴𝗵𝘁: 𝗧𝗵𝗲 𝗥𝗶𝗷𝗸𝘀𝗺𝘂𝘀𝗲𝘂𝗺 𝗮𝗻𝗱 𝗦𝗹𝗮𝘃𝗲𝗿𝘆 (2021), 𝗦𝘁𝗼𝗻𝗲𝘀 𝗛𝗮𝘃𝗲 𝗟𝗮𝘄𝘀 (2018), 𝗦𝘁𝗿𝗶𝗸𝗲 𝗮 𝗥𝗼𝗰𝗸 (2017), 𝗦𝘂𝗿𝗳𝗶𝗻𝗴 𝗦𝗼𝘄𝗲𝘁𝗼 (2010) and 𝗪𝗲𝗹𝗰𝗼𝗺𝗲 𝘁𝗼 𝘁𝗵𝗲 𝗦𝗺𝗶𝗹𝗶𝗻𝗴 𝗖𝗼𝗮𝘀𝘁 (2016). These titles are exclusively 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 𝗳𝗼𝗿 𝗳𝗿𝗲𝗲 on 𝘀𝘁𝗿𝗲𝗮𝗺𝗶𝗻𝗴 𝗽𝗹𝗮𝘁𝗳𝗼𝗿𝗺 𝗬𝗮𝗿𝗱𝗩𝗶𝗯𝗲𝘀 during the festival period from 𝗠𝗮𝘆 𝟮𝟭-𝟯𝟭. And on facebook.com/events/1143292934233871/ you can also find an overview of all the films including the links.

🎟️ For more info and tickets for the 𝗼𝗻-𝗹𝗼𝗰𝗮𝘁𝗶𝗼𝗻 𝗳𝗲𝘀𝘁𝗶𝘃𝗮𝗹 𝗲𝘃𝗲𝗻𝘁𝘀, please visit 𝗮𝗳𝗿𝗶𝗰𝗮𝗱𝗲𝗹𝗶𝗰.𝗰𝗼𝗺. For the 𝗼𝗻𝗹𝗶𝗻𝗲 𝗳𝗶𝗹𝗺 𝗽𝗿𝗼𝗴𝗿𝗮𝗺, which will be 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 𝗳𝗼𝗿 𝗳𝗿𝗲𝗲, 𝟮𝟰/𝟳 𝘁𝗵𝗿𝗼𝘂𝗴𝗵𝗼𝘂𝘁 𝘁𝗵𝗲 𝗳𝗲𝘀𝘁𝗶𝘃𝗮𝗹 (𝗠𝗮𝘆 𝟮𝟭-𝟯𝟭), see below!

ANGOLA 🇦🇴

50 Kwanzas (2024, 4′, dir. Jesualdo Muvuma, FESTIVAL EXCLUSIVE!)
50 Kwanzas follows Tchicolassonhi, a ‘Zungueira’ (in Angola, the term for female street vendors), in her daily struggle for better conditions for herself and her family. It is an almost endless journey in pursuit of the ’50 Kz’, one of the lowest-value and most widely circulated coins in Angola (around €0.4), which may mean little to many, but bring color to the life of a Zungueira. Beyond the subjectivity of value, the film delves into themes of grief, resilience, and offers a social critique of the police violence that Zungueiras face every day. The entire film was animated frame by frame in Adobe Photoshop, edited in Davinci Resolve, and is the result of a mixture of digital and traditional art (many of the backgrounds and textures were made with watercolour and oil pastel).

Cuba! Africa! Revolution! (2007, 118′, dir. BBC)
Cuba! Africa! Revolution! is a 2-part BBC documentary that traces Cuba’s decisive and largely untold role in Africa’s wars for independence and liberation during the 1960s and 1970s. Focusing especially on Cuba’s military and political involvement in the Angolan Civil War, the film explores how Fidel Castro’s revolutionary government extended internationalist solidarity to African nations fighting against colonial and apartheid regimes. Through rare archival footage, expert commentary, and interviews with former Cuban soldiers, African liberation leaders, and historians, the documentary unpacks the motivations behind Cuba’s interventions—rooted in anti-imperialist ideology and Pan-African solidarity, and examines their long-term impact on the geopolitics of the Cold War in Africa. From Angola and Mozambique to Guinea-Bissau and the Congo, the film highlights Cuba’s military support, medical aid, and political backing of liberation movements. It also raises questions about the complex legacy of these interventions, revealing both the solidarity and tensions involved in these transatlantic alliances. Cuba! Africa! Revolution! offers a powerful perspective on one of the most unique and ambitious foreign policy chapters in the Global South, celebrating a vision of global struggle against oppression that linked the Caribbean to the African continent.

Dissidence (Dissent, 1998, 53′, dir. Zézé Gamboa and Irène Tenèze, FESTIVAL EXCLUSIVE!)
The civil war in Angola spanned 27 years, from 1975 to 2002, beginning shortly after the country gained independence from Portugal. The conflict primarily pitted the MPLA (Popular Movement for the Liberation of Angola), supported by the Soviet Union and other socialist nations, against UNITA (National Union for the Total Independence of Angola), which was backed by the United States and South Africa. In this documentary, Zézé Gamboa, who was born in Angola in 1955, seeks to understand this turbulent period by engaging with those who were actively involved in the conflict. With a personal connection to the history of Angola, Gamboa attempts to decode a crucial chapter of his country’s past. His approach is both challenging and insightful: by giving a platform to dissidents from both sides, now living in exile in countries such as Portugal, France, Belgium, and the Netherlands, the film allows them to share their perspectives as witnesses, actors, and victims of their political allegiances. The documentary refrains from imposing judgment, instead offering a space for individuals to express their personal disillusionments and reflections, letting their voices speak for themselves.

É Dreda Ser Angolano (It’s Tough to Be Angolan, 2008, 67′, dir. Pedro Coquenão, FESTIVAL EXCLUSIVE!)
One day in the life of Luanda, the capital of Angola. A young democracy rises after a recently ended war with some growth’s pain but always with a smile on its lips and lots of rhythm on its hips. Picture it all surrounded by a fictional radio, Radio Dreda, playing the sounds of Kuduro of edgy and reality-based hip-hop. This kind of documentary is a tribute to the Angolan people and all the other Angolan artists that were able to seek inspiration out of the adversities of everyday life and contribute to the creation of a new identity. The original project was to gather footage for a music video for Conjunto Ngonguenha, but after ending up with 17 tapes of material, the team decided to take the leap and create ‘a kind of’ documentary, despite having no financial backing. This ‘kind of’ documentary was part of Indie Lisboa, Museu de Serralves and Casa da Música, and has won the VIMUS award for best musical documentary and also the Best Youth Prize and the Jury award in Mostralíngua 2008. In 2009 was part of the short selection of Mostralíngua in Moçambique, International Cinema Festival in Angola and also on Cineport in Brasil and was played at FMM Sines and Sfinks World Festival.

Kangamba (2009, 96′, dir. Rogelio París)
Kangamba is a Cuban war film that dramatizes the 1983 Battle of Kangamba in Angola. The film portrays the intense conflict between Cuban internationalist forces and the National Union for the Total Independence of Angola (UNITA), which was supported by apartheid-era South Africa. Set in the southern Angolan village of Kangamba, the narrative unfolds over a week-long siege where Cuban and Angolan troops, aligned with the MPLA (People’s Movement for the Liberation of Angola), defend against a formidable UNITA offensive. The battle not only tests military endurance but also highlights the resilience of civilians caught in the crossfire. The film delves into the human aspects of war, focusing on the experiences of soldiers and civilians, including a poignant subplot involving a romantic relationship between a Cuban officer and a local woman. This personal narrative contrasts with the broader themes of sacrifice and the harsh realities of combat. Kangamba serves as a cinematic tribute to the solidarity between Cuban and Angolan forces during the civil war, offering a perspective on a significant yet often overlooked chapter in African liberation history.

CABO VERDE 🇨🇻

As Duas Faces da Guerra (2007, 60’, dir. Diana Andringa and Flora Gomes)
As Duas Faces da Guerra (The Two Faces of War) offers a compelling and humanized account of the anti-colonial war in Guinea-Bissau and Cape Verde, revisiting one of Africa’s most significant liberation struggles. Through a series of candid interviews and personal testimonies, the film brings together former Portuguese soldiers and African independence fighters, revealing the emotional and ideological complexities experienced on both sides of the conflict. Directed by Portuguese journalist Diana Andringa and acclaimed Bissau-Guinean filmmaker Flora Gomes, the documentary goes beyond the battlefield to examine the shared traumas, reflections, and reconciliations that emerged long after the guns fell silent. By giving voice to those who lived through the war, both colonizer and colonized, the film fosters a deeper understanding of memory, history, and the lasting impact of colonialism.

Batuko / Batuque: The Less Known World of Cabo Verde (2021, 42’, dir. Naana Orleans-Amissah)
This documentary offers an in-depth exploration of Batuque, an Afro-Cape Verdean rhythmic music and dance tradition led predominantly by women. It highlights the cultural significance and rich historical roots of Batuque, while clarifying and distinguishing it from similarly named practices that were inaccurately labeled by Portuguese colonizers. Through this lens, the film celebrates Batuque as a vital expression of Cape Verdean identity and heritage.

Cape Verde Independence July 5th and 6th, 1975 (2005, 13’, dir. Anthony D. Ramos)
This short compilation documentary offers a rare glimpse into Cape Verde’s first two days of independence after 500 years of colonial rule. Created from nearly seventy hours of archival ½” reel-to-reel footage shot by American performance and media artist Anthony D. Ramos, it stands as the only American-recorded visual testimony of this historic moment. The film captures the emotional and political atmosphere surrounding Cape Verde’s transition to sovereignty on July 5 and 6, 1975.

Ilhéu da Contenda (1996, 110’,dir. Leão Lopes)
Set in 1964 on the Cape Verdean island of Fogo, Ilhéu da Contenda portrays a society on the brink of change, where the lingering power of the colonial aristocracy is challenged by the emergence of a new, self-aware middle class. Against the backdrop of Portuguese colonial rule and growing political unrest, the film explores class tensions, family honor, and the struggle for identity in a world divided by status and tradition. Adapted from the novel by Henrique Teixeira de Sousa, a renowned Cape Verdean writer and physician, the film combines drama and social critique, capturing the complex dynamics of a society caught between obedience and rebellion, heritage and modernity. The soulful music of Cesária Évora underscores the emotional depth of the story, evoking both nostalgia and the stirring winds of transformation. A landmark of Cape Verdean cinema, Ilhéu da Contenda is a poetic and politically resonant reflection on dignity, resistance, and the human cost of inequality.

Morabeza (2018, 2′, dir. Amar Hernández)
Morabeza is a poetic 16mm short film that evokes the journey from the painful legacy of slavery to the serene warmth embodied in the Cape Verdean concept of ‘morabeza’, a word that expresses hospitality, tenderness, and the soul of a people. In just two minutes, director Amar Hernández weaves haunting imagery and subtle cinematic textures into a meditative reflection on resilience, memory, and cultural spirit. Without dialogue, the film speaks through visuals, offering a sensory homage to Cape Verde’s history and humanity.

COMOROS 🇰🇲

Africa Revealed: Mayotte (2024, 11′, Africa Revealed)
Africa Revealed: Mayotte explores the unique political path of Mayotte, the island in the Comoros archipelago that chose to remain under French rule while the other Comorian islands voted for independence in 1974. Located between southeastern Africa and northwestern Madagascar, the Comoros archipelago consists mainly of four islands: Ngazidja, Ndzuwani, Mwali, and Mayotte (also known as Maore). While the first three islands formed the independent Union of Comoros, Mayotte became, and remains, a French overseas department. This episode dives into Mayotte’s history, tracing back to its first inhabitants in the 6th century, the flourishing Swahili culture shaped by Bantu, Arab, Somali, and Indian influences, and the establishment of the Maore Sultanate in the 1500s. It reveals how centuries of conflict, slavery, and shifting sultanates culminated in Mayotte’s last sultan seeking a powerful ally, France, in 1841. This decision set Mayotte on a different trajectory from its neighboring islands, resulting in its current political status.

Anjouan, Comoros Islands (2015, 4′, dir. Owain Rich)
Anjouan is one of the three Comoros Islands that declared independence from France in 1975. One of its main crops is the ylang ylang flower, which is distilled into one of the constituents of perfume in numerous small distilleries. But many of the inhabitants of Anjouan try to leave for what they think will be a better life in the neighbouring island of Mayotte, which remained part of France and has a higher standard of living. In this episode of Island Stories, BBC Swahili’s Zuhura Yunus talks to a teenager in Anjouan whose brother is trying to make a living in Mayotte. Then she visits the brother, Ousmani, in Mayotte, to see how he is getting on.

Islands in Sync (2024, 7′, dir. Huawei)
Islands in Sync is a funny short film that highlights the transformative impact of technology on the people from the Comoros Islands who live in different parts of the world, staying connected to their loved ones back home. Produced by Huawei, this (admittedly branded content) film showcases how the company’s innovations enable Comorians living abroad to maintain strong connections with their homeland and communities, regardless of geographical distances. Set against the backdrop of the Comoros Islands, Islands in Sync portrays how digital tools bridge the gap between the island’s residents and the diaspora, fostering a sense of unity and shared purpose.

Miadi (2023, 54′, dir. Ahmed Toiouil)
In Miadi, Hilal, the sole survivor of a tragic event that shook the Comoros in 2003, lives a quiet life in the suburbs of Paris. Haunted by the past, he returns to his childhood island two decades later in search of answers. As he retraces the memories and silences of his homeland, Hilal is confronted not only with the unresolved trauma of the past but also with a deep, personal reckoning. This homecoming becomes a journey of remembrance, identity, and transformation, revealing that the path to healing may also be the key to moving forward. Directed by Comorian filmmaker Ahmed Toiouil and rooted in the landscapes and emotional undercurrents of Comorian society, Miadi is a powerful reflection on memory, belonging, and the delicate line between survival and living.

Mayotte – An Island on the Edge: Crisis at Europe’s Forgotten Border (2024, 13′, dir. Luisa von Richthofen)
This short documentary by DW Documentary explores the complex realities of Mayotte, a geographically Comorian island yet politically a French overseas territory and part of the European Union. As a popular destination for migrants primarily from neighboring Comoros and other African countries like Congo, Rwanda, and Burundi, Mayotte faces deep social and economic challenges. Many migrants live in precarious conditions, fearful of deportation, while local residents grapple with rising crime, inadequate infrastructure, inflation, and a growing sense of abandonment by the government. With a worsening water shortage compounding tensions, the island teeters on the brink of crisis. This report by Luisa von Richthofen sheds light on the human and political struggles at Europe’s often overlooked border.

GUINEA-BISSAU 🇬🇼

Cabralista (2011, 53’, dir. Valerio Lopes)
Cabralista is a poetic documentary exploring the life, legacy, and revolutionary thought of Amílcar Cabral, the Guinea-Bissauan freedom fighter, political theorist, and humanist assassinated in 1973. Using rare archival footage, previously unreleased voice recordings, and testimonies from young African and Pan-African scholars, director Valerio Lopes revisits Cabral’s influence on African independence movements and his enduring vision for a re-Africanization of the spirit. Filmed across Cape Verde, Guinea-Bissau, Portugal, and Libya, Cabralista situates Cabral’s work within both historical and contemporary struggles for emancipation, human rights, and cultural identity. Through artistic visuals and a rich African soundscape, the film reflects on how Cabral’s words anticipated future revolutions and remain deeply relevant today. Celebrating Cabral’s intellectual and political legacy, Cabralista is both a tribute and a call to action; an invitation to rethink Africa through the lens of African humanism and self-determination.

Estas São As Armas (These Are the Weapons, 56′, 1978, dir. Murilo Salles)
This documentary-propaganda film chronicles Guinea-Bissau’s intense and courageous armed struggle against Portuguese colonial rule. It offers a vivid portrayal of the liberation movement led by the African Party for the Independence of Guinea and Cape Verde (PAIGC), focusing on the determination, sacrifices, and resilience of the fighters and the local population. The film interweaves actual combat footage, interviews with guerrilla fighters, and scenes of daily life under colonial oppression to paint a comprehensive picture of the conflict. It also emphasizes the ideological and material ‘weapons’, including solidarity, political education, and collective spirit, that sustained the movement. Combining raw realism with a clear political message, the film serves both as a historical document and a motivational call to action, celebrating the struggle for freedom and self-determination. Estas São As Armas was directed by Brazilian filmmaker Murilo Salles. Produced shortly after Mozambique’s independence, the film was one of the first major productions by the Instituto Nacional de Cinema (INC) in Maputo. It was created in collaboration with Mozambican writer and politician Luís Bernardo Honwana and a collective of young INC filmmakers.

Guiné-Bissau: Da Memória ao Futuro (Guinea-Bissau: From Memory to the Future, 2019, 68′, dir. Diana Andringa)
Guiné-Bissau: Da Memória ao Futuro explores the complex relationship between history, memory, and nation-building in Guinea-Bissau. Filmed entirely in 2018, during the 45th anniversary of the country’s independence, the film captures a pivotal moment of introspection, as Guinea-Bissau confronts its post-independent trajectory. Through in-depth interviews with scholars of various nationalities, civil society leaders, artists, and veterans of the national liberation struggle, director Diana Andringa constructs a powerful mosaic of voices that grapple with the legacy of anti-colonial resistance and the promises of independence. The documentary investigates how historical memory, both celebrated and contested, continues to shape national identity and influence the country’s political and social challenges. More than a historical retrospective, the film serves as a call to action: it asks how the memory of Guinea-Bissau’s revolutionary past can inform its path forward, offering a critical tool for the present generation to imagine and build a more just, sovereign, and inclusive future.

Mortu Nega (Death Denied, 1988, 92′, dir. Flora Gomes)
Mortu Nega is Guinea-Bissau’s first feature film and one of the pioneering works in African cinema. The title translates to Death Denied, reflecting the resilience of those who survived the country’s War of Independence. Set during the 1970s, the film follows Diminga, portrayed by Bia Gomes, a woman who joins her husband Sako, a guerrilla fighter, in the bush to support the independence struggle against Portuguese colonial forces. After the war ends in 1974, Diminga returns to a country ravaged by drought and internal strife. Despite the official end of hostilities, the challenges persist as she navigates the complexities of post-war life, including her husband’s illness and the societal upheaval that follows independence. Mortu Nega is an ethnofiction, blending historical events with mythological elements to portray the complexities of Guinea-Bissau’s post-colonial experience. The film critiques the aftermath of independence, questioning the fulfillment of revolutionary promises and the ongoing struggles of its people. Flora Gomes employs a non-linear narrative and symbolic imagery to convey the emotional and societal impacts of war and liberation. The film premiered at the 1988 Venice Film Festival, receiving two Special Mentions, and was later showcased at various international festivals, including FESPACO and Cannes. It remains a significant work in African cinema, offering a poignant exploration of love, loss, and resilience in the face of historical upheaval.

Xime (1994, 96′, dir. Sana Na N’Hada)
Set against the backdrop of Guinea-Bissau’s final years under Portuguese colonial rule, Xime is a poignant drama that delves into the complex dynamics of family, tradition, and political upheaval. The story revolves around a powerful and traditional father who struggles to maintain his authority and cultural values in the face of his son’s growing desire for independence and modernity. As the country edges closer to liberation, the generational conflict between father and son mirrors the larger social and political tensions of the time. The film explores themes of power, resistance, identity, and change, offering a humanized perspective on the personal costs of colonialism and the fight for freedom. Richly layered, Xime also captures the cultural and historical atmosphere of Guinea-Bissau during a critical moment of transformation.

MOZAMBIQUE 🇲🇿

A Luta Continua! (The Struggle Continues, 1973, 37′, dir. Robert Van Lierop)
A Luta Continua (The Struggle Continues) is a documentary film by Robert Van Lierop which depicts the FRELIMO struggle for the independence of Mozambique from Portugal. A Luta Continua explains the military struggle of the Liberation Front of Mozambique (FRELIMO) against the Portuguese. Produced and narrated by American activist Robert Van Lierop, it details the relationship of the liberation to the wider regional and continental demands for self-determination against minority rule. It notes the complicit roles of foreign governments and companies in supporting Portugal against the African nationalists. Footage from the front lines of the struggle helps contextualize FRELIMO’s African socialist ideology, specifically the role of the military in building the new nation, a commitment to education, demands for sexual equality, the introduction of medical aid into the countryside, and the role of culture in creating a single national identity. Filmed by an African-American crew in 1971, within liberated zones of the country, the documentary has been called, ‘one of the most effective for the mobilization of international solidarity’ with FRELIMO. Released in 1972 and broadcast on the US television station GBH in October 1973, the documentary links the independence struggle in Southern Africa with the civil rights and Black Power movements in the United States. It is credited with influencing strategies of African-American grassroots community organizing in the 1970s and anti-apartheid activism in the US in the 1980s. The film contains the only footage of battle recorded from the FRELIMO side of the Independence War.

Era Oculta (Hidden Era, 2024, 76′, dir. Carlos Vargas, FESTIVAL EXCLUSIVE!)
Set in the vibrant city of Maputo, Mozambique, Era Oculta centers on Phambi, a Rastafari artist striving to provide a better life for his son, Ixon. Phambi faces financial hardships that threaten his ability to keep Ixon enrolled in school due to unpaid fees. His artistic journey intertwines with Paula and Ednora, feminist activists who pose for his paintings, highlighting themes of art, activism, and societal norms. The film delves into the challenges and triumphs of an artist navigating Mozambique’s unique cultural landscape, exploring the transformative power of art as a form of resilience against adversity. It also sheds light on the collaborative spirit within the artistic community and the role of women in shaping societal narratives. The film premiered at the Tribeca Film Festival in June 2024, where it received attention for its nuanced portrayal of Maputo’s art scene and the interplay between personal aspirations and broader social movements.

Faces Of Africa – Samora Machel: The Struggle Continues (2015, 29′, dir. CGTN Africa)
The documentary Faces of Africa – Samora Machel: The Struggle Continues offers an in-depth look at the life and legacy of Samora Machel, Mozambique’s first president and a pivotal figure in Africa’s anti-colonial liberation movements. Produced by CGTN Africa, the film traces Machel’s transformation from a nurse witnessing racial inequality to a revolutionary leader who played a central role in Mozambique’s fight for independence from Portuguese colonial rule. Born in 1933 in Gaza Province, Machel experienced firsthand the injustices of colonialism, including forced cotton farming imposed on his family. His early career as a nurse exposed him to systemic racism, as black nurses were paid less than their white counterparts. These experiences fueled his commitment to social justice, leading him to join the Mozambique Liberation Front (FRELIMO) in Tanzania, where he received military training and rose through the ranks to become a prominent leader. Under Machel’s leadership, FRELIMO declared Mozambique’s independence on June 25, 1975. As president, Machel championed socialist ideals, focusing on eradicating inequality, illiteracy, poverty, and corruption. He is renowned for his rallying cry, ‘A luta continua’ (‘The struggle continues’), which became emblematic of ongoing efforts toward social and economic justice. The documentary features insights from individuals who knew Machel personally, including his daughter Olivia Machel, who now manages the Samora Machel Documentation Center. It also includes reflections from Mozambican citizens and journalists who discuss the enduring relevance of Machel’s vision and the challenges the country faces today.

Mabata Bata (2018, 74′, dir. Sol Carvalho, FESTIVAL EXCLUSIVE!)
Azarias is a young orphan shepherd, keeper of a herd of oxen, where the ox Mabata Bata stands out. The oxen will be the basis of the ‘lobolo’ payment, a traditional dowry that his uncle Raul must pay for his own marriage. Azarias’ dream is to be a normal child, to go to school, gold that is supported by his grandmother. One day, when Azariah is in the pasture, Mabata Bata steps into a mine – the result of the civil war in the country – and explodes. The young man fears his uncle’s reprisals and flees to the forest, taking with him the remaining oxen. The grandmother and uncle leave in their quest to rescue him and persuade him to return.

O Tempo dos Leopardos (The Time of the Leopards, 1985, 92′, dir. Zdravko Velimirović)
O Tempo dos Leopardos is a war drama co-produced by Mozambique and Yugoslavia. Directed by Zdravko Velimirović, it holds the distinction of being the first feature film produced in Mozambique. Set in 1971 during the final years of Portuguese colonial rule, the film offers a fictionalized portrayal of the Mozambican War of Independence from the perspective of the colonized. The narrative centers on two childhood friends, one Mozambican and one Portuguese, who find themselves on opposing sides of the liberation struggle. Beyond its historical context, O Tempo dos Leopardos serves as a political allegory, emphasizing themes of betrayal and national identity. Notably, the film portrays the most dangerous antagonist not as a Portuguese colonizer but as a Mozambican traitor within the liberation movement, reflecting the internal challenges faced during the fight for independence. The film premiered in Maputo in 1985 to commemorate the first decade of independence of Mozambique.

Samora Machel’s Struggle: How Mozambique’s Revolution Ended Portugal’s Empire (2025, 45′, director unknown)
Samora Machel’s Struggle: How Mozambique’s Revolution Ended Portugal’s Empire offers an exploration of Mozambique’s decade-long fight for independence, led by Samora Machel and the Mozambique Liberation Front (FRELIMO). It delves into the historical, political, and social dynamics that culminated in the collapse of Portugal’s colonial empire in Africa. The film traces Machel’s evolution from a nurse witnessing systemic racial injustices to a revolutionary leader who galvanized a nation. It examines how FRELIMO’s guerrilla warfare tactics, combined with international support and mounting pressure on Portugal, contributed to the eventual independence of Mozambique. The documentary also sheds light on the broader implications of Mozambique’s liberation, highlighting its role in inspiring other anti-colonial movements across the continent.

The Kids Look at the Sky (2024, 11′, dir. Enric Ribes)
The Kids Look at the Sky is a short documentary directed by Enric Ribes that offers an intimate glimpse into the lives of a community living with albinism on the outskirts of Maputo, Mozambique. The film delves into the myths and cultural perceptions surrounding albinism, highlighting the resilience and unity of this community as they navigate societal challenges. Through poetic visuals and intimate storytelling, Ribes captures the essence of their daily experiences, emphasizing themes of survival, identity, and hope.

SAO TOME & PRINCIPE 🇸🇹

Por uma história do direito ao rés do chao em São Tomé e Príncipe (For a Ground-Level Legal History in São Tomé and Príncipe, 2021, 3′, dir. Maysa Espíndola Souza)
In this short film, legal historian Maysa Espíndola Souza sheds light on the overlooked legal and labor histories of São Tomé and Príncipe in the early 20th century. Drawing from her research at the Max Planck Institute and the Bonn Center for Dependency and Slavery Studies, Souza explores how legal curatorship processes played a crucial role in shaping the lived experiences of colonial workers. With a grounded, bottom-up perspective, the film challenges dominant narratives and invites viewers to rethink the intersections of law, labor, and colonial power in Lusophone Africa.

São Tomé e Príncipe: Retalhos de uma História (São Tomé and Príncipe: Fragments of a History, 2015, 51′, dir. Nilton Medeiros and Jerónimo Moniz)
The emergence of liberation movements across former African colonies in the 1960s sparked growing political awareness and intensified the struggles for independence.
Decolonization spread across both large and small territories. In São Tomé and Príncipe, the Comité de Libertação de São Tomé e Príncipe (CLSTP), later transformed into the Movimento de Libertação de São Tomé e Príncipe (MLSTP), began a long journey toward liberation.
After years of resistance, the Carnation Revolution of April 25, 1974, in Portugal opened the door to the decolonization process. Young Santomean students, organized under the Associação Cívica pro-MLSTP, embraced the April Revolution and returned to their homeland, carrying with them a spirit of rebellion and determination. On November 26, 1974, the Algiers Agreement was signed with the Portuguese government, officially recognizing the right of the former colony to self-determination and independence. Portugal recognized the MLSTP as the sole representative during the transition period leading to the election of a Constituent Assembly and the proclamation of the Republic of São Tomé and Príncipe on July 12, 1975. However, the years following independence fell short of the aspirations held by the freedom fighters. Forty years on, many wounds remain unhealed. São Tomé e Príncipe: Retalhos de uma História revisits this complex past through the voices of those who lived it.

Serviçais: das memórias à identidade (Serviçais: From Memories to Identity (2017, 52 min, dir. Nilton Medeiros)
Serviçais: From Memories to Identity traces the untold history of the contract laborers, known as serviçais, who were brought to São Tomé and Príncipe from Angola, Mozambique, and Cape Verde following the abolition of slavery. Through an exploration of archival footage, personal testimonies, and historical reflection, the film reveals how these laborers endured harsh, segregated lives on cocoa and coffee plantations under colonial rule. With the country’s independence in 1975 and the nationalization of the roças, a new era promised equal rights and full citizenship. Yet, decades later, many former serviçais and their descendants remain socially and economically marginalized, bound to the very plantations that once defined their existence. Directed by Nilton Medeiros, this documentary brings to light the lingering effects of forced labor and colonialism, and gives voice to those striving to reclaim their identity in post-independence São Tomé and Príncipe.

Sombras do Poder (Shadows of Power, 2023, 52′, dir. Nilton Medeiros, only available in Portuguese)
Sombras do Poder is a documentary that explores the turbulent political history of São Tomé and Príncipe. From the country’s independence in 1975, when a single-party regime took control, the film reveals a government marked by repression, mistrust, and betrayal among comrades. It delves into the harsh realities faced by many citizens accused of attempting coups—those imprisoned and subjected to psychological and physical torture to extract confessions. The documentary traces the nation’s critical shift in the 1990s as São Tomé and Príncipe became the first Portuguese-speaking African country to transition to multiparty democracy. Despite this political opening, the country endured several attempted military coups, each ultimately resolved through negotiation, memoranda, and amnesties. Through the testimonies of victims and key figures, Shadows of Power uncovers the complex network of contradictions and conspiracies that have shaped the country’s post-independence era, offering an intimate portrait of its political struggles and resilience.

Zongô Memá (Spirit Mother, 2024, 6′, dir. Nuno Pinto)
The short film / music video Zongô Memá features the two brothers of Calema on an unrelenting journey to reach Pico Cão Grande, a towering peak located in the Obô Natural Park, São Tomé and Príncipe. Beyond symbolizing achievement, the peak represents a return home. Despite their travels around the world, Calema deeply recognize and honor the importance of their roots. This short film tells the story of the brothers’ quest, blending reality with a time vortex that transports them back to their childhood home. Through this portal, they revisit old dreams, including the ambition to perform before a crowd like that at the Meo Arena. The journey culminates with them being transported through the vortex once again, this time to that very stage. Calema’s Zongô Memá is a poetic exploration of the enduring significance of home.

SURINAME 🇸🇷

Brokopondo: Stories of a Drowned Land (1994, 47′, dir. John Albert Jansen, FESTIVAL EXCLUSIVE!)
The construction of the Brokopondo dam and hydro-electric plant in the 1960s gave an important boost to the economy of Surinam, a former Dutch colony. However it also caused the flooding of lands and villages of 5,000 Saramaccan Maroons. In 1994 filmmaker John Albert Jansen returned to the site of devastation, together with Surinam writer Dorus Vrede who was born in one of the drowned villages. In the documentary Brokopondo: Stories of a Drowned Land, Jansen traces the origins of the Brokopondo project, the benefits to the economy of Surinam and the consequences of transmigration for the Maroon people, who after having lived a secluded life in the area since the eighteenth century, were forced to leave their traditional lands. Their rich hunting ground now at the bottom of Afobaka Lake. The building of the Brokopondo dam and the forced departure of the Saramaccan people is a powerful example of a clash between economic and cultural systems.

Hoe het Nederlandse slavernijverleden nog altijd doorwerkt (How the Dutch History of Slavery Still Has an Impact Today , 2023, 17′, dir. NOS)
In 2023, the Netherlands marked 160 years since the official abolition of slavery. In this short documentary, journalist and correspondent Nina Jurna explores the legacy of Dutch transatlantic slavery and its ongoing impact today. Focusing on Suriname as a case study, the short documentary features conversations with Surinamese people who reflect on how the historical injustice of slavery continues to shape social, economic, and cultural realities. Through personal stories and historical context, it reveals how the past remains deeply woven into the present.

Inside Suriname (2013, 54′, dir. Indigenous and Maroon communities in Suriname)
Inside Suriname is a community-directed documentary that seeks to amplify the voices of Indigenous and Maroon communities whose ancestral lands in Suriname’s interior are under threat. Through first-hand testimonies and locally guided storytelling, the film exposes the environmental and social consequences of land concessions granted for economic development, particularly gold mining operations that poison water sources with mercury and cyanide. Inside Suriname aims to offer a comprehensive and inclusive narrative by weaving in the often-overlooked perspectives of Maroon communities alongside Indigenous voices. It details how the expansion of extractive industries primarily benefits outsiders, while leaving local populations to face the destruction of ecosystems, loss of cultural heritage, and deepening social injustices. The film reveals how the people who have lived in harmony with the land for generations are organizing to protect their rights, their environment, and their future.

Untold Stories: The Last Days of Anton de Kom (2022, 3′)
Untold Stories: The Last Days of Anton de Kom (2022) is a poignant 3-minute documentary that delves into the final chapter of the life of the Surinamese anti-colonial writer, activist, and freedom fighter Anton de Kom. The film is part of the Untold Stories, Places of Memory series, which aims to shed light on overlooked narratives in history. Through a blend of archival footage, narration, and evocative visuals, the documentary traces de Kom’s unwavering commitment to justice. It highlights his exile from Suriname due to his political activism, his influential work We Slaves of Suriname, and his involvement in the Dutch resistance during World War II. The film culminates with his tragic death in 1945 at the Neuengamme concentration camp in Germany. This short film serves as a powerful tribute to de Kom’s enduring legacy and the sacrifices he made in the fight against colonialism and oppression.

Stones Have Laws (Dee Sitonu a Weti, 2018, 100′, dir. Lonnie van Brummelen and Siebren de Haan i.c.w. Maroon communities of Suriname, FESTIVAL EXCLUSIVE!)
Stones Have Laws (Dee Sitonu a Weti) is an immersive initiation into the life of a Maroon community in the former Dutch colony of Suriname. Combining stories of African ancestral traditions and escaped slavery with enacted contemporary rituals, the film explores how the community’s powerful ties to the land have become endangered as industries threaten to devastate the region through deforestation and mining. The project was initiated by the Dutch artists Lonnie van Brummelen, Siebren de Haan and developed in collaboration with the Surinamese theater maker Tolin Erwin Alexander, himself Okanisi Maroon. The three of them closely involved the Maroon community in the development of the script, which was written using an experimental process of collective scripting. Members of the community perform the scenes in front of the camera while crickets, birds, trees, the stones, and the rushing waters of the Suriname River act along. The result is a unique cinematic form that bridges filmmaking, poetry and theatre.

OTHER 🌍

Children of the Diaspora (Les Enfants de la Diaspora, 2024, 8′, FESTIVAL EXCLUSIVE!)
Children of the Diaspora (Les Enfants de la Diaspora) is a short film directed by Sabrina Onana, an Italo-Cameroonian sociologist and filmmaker. The film delves into the inner monologue of a child of Afro-descendant immigrants, exploring the complexities of identity within the African diaspora. Through poetic narration, the film addresses themes such as community healing, reconciliation of collective memory, and the reimagining of post-colonial Euro-African relations. Onana encourages Afro-European youth to embrace their African heritage while acknowledging their multifaceted identities. Rather than portraying the diasporic experience as a burden, the film presents it as an opportunity to explore fundamental questions of human existence.

Faces of German Colonialism: Racism in Early Color Photography (2023, 43′, dir. Michael Mueller, DW Documentary)
This DW documentary uncovers how photographer Robert Lohmeyer shaped European perceptions of Africa during the height of German imperialism. Between 1907 and 1909, Lohmeyer traveled through German colonies – Togo, Cameroon, German Southwest Africa (now Namibia), and German East Africa (now Tanzania) – capturing the first color photographs of these territories. Far from neutral documentation, Lohmeyer’s images were a carefully crafted public relations campaign designed to glorify colonial rule. His photographs portrayed an idyllic, peaceful Africa filled with ‘noble savages’ and lush landscapes, deliberately omitting the harsh realities of war, disease, and exploitation. The vivid color photos lent an aura of authenticity and truthfulness, deeply influencing public opinion in Germany and beyond. Using unpublished sources and archival images, the documentary traces Lohmeyer’s journey and exposes how his work became a powerful tool of imperialist propaganda. It also explores the photographer’s role in laying the foundations of a new, color-infused racism, one whose echoes persist in visual culture today.

New Light: The Rijksmuseum and Slavery (2021, 55′, dir. Ida Does, FESTIVAL EXCLUSIVE!)
What happens when the leading national museum focuses its gaze on the slavery history of the Netherlands? This is the subject of New Light, a highly topical documentary from director Ida Does about the genesis of the slavery exhibition in the Rijksmuseum. This film shows up close and personal how painful and bitter, but at the same time healing and liberating compiling the exhibition was. Especially due to the contributions of people with roots both in the East and in the West. In New Light we can see what it means when a museum reinvents itself.

Strike a Rock (2017, 87′, dir. Aliki Saragas-Georgio, FESTIVAL EXCLUSIVE!)
Marikana is a mining town in South Africa where police opened fire on striking workers in 2012, killing a shocking total of 34 men. It marked the start of a grim conflict between women from the community and the mining company, which breached its obligations for worker housing in scandalous ways. The two leading campaigners are grandmothers, one of whom, the indomitable Primrose, even manages to win a seat in parliament, raising their battle for justice to a whole new level. In this intimate, close-up account, the poor but utterly determined women question why they get so little in return for the valuable platinum that’s mined there, day in and day out, for wealthy British people. Their years-long struggle for justice and recognition is being ignored by the higher-ups at the company, so what should the women do to make sure they are heard? Will the solidarity and close friendships in the village survive the onslaught from the forces at the center of power, or will their struggle be used for political gain?

Surfing Soweto (2010, 82′, dir. Dimi Raphoto and Sara Blecher, FESTIVAL EXCLUSIVE!)
‘Surfing’ on top of speeding trains is the ultimate adrenaline experience for South Africa’s disillusioned youth. It’s illegal, dangerous and has already killed hundreds. Surfing Soweto is the story of this forgotten generation of alienated youth, born during the glowing promise after the demise of apartheid and yet without the skills or wherewithal to reap the benefits of their newly won freedoms. Four years in the making, this documentary chronicles the lives of three of the most notorious train surfers in Soweto: Bitch Nigga, Lefa and Mzembe. Surfing Soweto shows them riding on the top of trains, which in South Africa is known as ‘ukudlala istaff’, ducking as they hurtle past lethal electrical cables, and also in the intimacy of their homes and families. ‘I always wanted to be a stuntman, explains Bitch Nigga. He doesn’t just surf trains. He ducks bridges, does push ups and has come up with his own entertainment routine, performed from the top of a racing train. Most of the surfers come from broken homes. They spend their days drinking, smoking and teaching each other the latest train surfing techniques. This documentary aims to understand their frustrations and to document the lives of the new generation of youth in Soweto.

Welcome to the Smiling Coast (2016, 72′, dir. Bas Ackermann, FESTIVAL EXCLUSIVE!)
Welcome to the Smiling Coast is an award-winning documentary that offers a rare insight into the lives of 15 youngsters working in the informal sector of the Gambian tourism industry. Although the smallest country on the African mainland, the Gambia has become a popular tourist destination due to its warm climate, abundant wildlife and cheap intimacy. Each year over 100.000 tourists, many of them being older European women, visit the ‘Smiling Coast’ in search of this exotic blend of sun, safari and sex. Most tourists are staying within the comforts of all-inclusive resorts, far removed from the everyday experience of ordinary Gambians. In fact, with a third of its population living below the poverty line, the Gambia is at present, fifty years after its independence, one of Africa’s poorest nations. Ironically, many poor Gambians, particularly youngsters, are residing only a few steps away from the tourist hotels and beaches. Here they are trying to survive in the margins of the omnipresent leisure industry. With this lure of a better future just around the corner, the dangerous ‘back way’ across deserts and high seas to Europe, is always lingering in their minds. Do they eventually try their luck abroad or find their peace at home? Welcome to the Smiling Coast shows the varied and often creative alternative strategies Gambian youngsters employ to secure their livelihood. Capturing their struggles, hopes and dreams, this documentary puts a human and positive face on the informal economy that lies behind the glitter of the Smiling Coast.