…Deserve it, then. Study, do your work. Be honest, frank and fearless and get some grasp of the real values of life. You will meet, of course, curious little annoyances. People will wonder at your dear brown and the sweet crinkley hair. But that simply is of no importance and will soon be forgotten. Remember that most folk laugh at anything unusual, whether it is beautiful, fine or not. You, however, must not laugh at yourself. You must know that brown is as pretty as white or prettier…The main thing is the YOU beneath the clothes and skin—the ability to do, the will to conquer, the determination to understand and know this great, wonderful, curious world. Don’t shrink from new experiences and custom. Take the cold bath bravely…Enjoy what is, and not pine for what is not. Read some good, heavy, serious books just for discipline: Take yourself in hand and master yourself. Make yourself do unpleasant things, so as to gain the upper hand of your soul.
Diaspora is simultaneously a state of being and a process of becoming, a kind of voyage that encompasses the possibility of never arriving or returning, a navigation of multiple belongings
ppl always ask me “”what are you going to do with your degree”“ and “"if you wanna get a PHD how do you plan on paying for it"" and ""where are you gonna move after college"" but here is the thing:
i am very powerful and cute and im gonna float through this world one day at a time. please leave me alone.
My name is Jamilla Okubo. I am an Kenyan-American artist from Washington, D.C. Currently residing in New York City attending Parsons the New School for Design. I am currently a rising senior at Parsons studying Integrated Fashion Design (undergraduate), with a background in Fine Arts, and a focus on textiles and fashion design.
I have been attending Parsons for three years now and I am getting ready to graduate this year as well as complete my senior thesis. I am currently $72,000 in debt to Parsons the New School for Design. For the past three years my mother has assisted me by paying the remainder of my tuition with the Parent Plus Loan. My mother has borrowed $43,000 of the Direct Parent Plus loan. I still owe $12,000 for my last (senior) year at Parsons and mother and I can no longer take out Direct Plus Loans.
I hope to be that minority student of color at Parsons, who represents the school, and inspires my younger siblings, and other minority/low-income students globally, to have the ambition and drive that I have, and not let financial issues get in the way of it.
I need $10, 787 to pay for the rest of my tuition for my last year at Parsons.
USAGE OF FUNDS:
-School Supplies (Fabric, muslin, pattern paper, designing tools, paint, canvases, lab fees, books, fieldtrip fees)
ABOUT ME & MY PURPOSE AS AN ARTIST:
As a multidisciplinary artist I am able to combine my skills and knowledge to create and express myself. My artwork mainly focuses on people of the Diaspora (people of color), whom I consider my community. I use my artistic disciplines as tools to challenge myself in ways to give back to my community, educate, and empower them as well as the rest of the world.
It is my duty to remind people of color that we have such a rich culture, and that we should love ourselves and one another. I create artwork for my community, because I believe that my purpose as an artist of color is to empower and educate my community.
My artistic discipline connects me to my community by allowing me to create artwork that my community is able to enjoy, embrace, and share with others. I not only create my artwork for myself, but what I express through the medium that I use, is a story that many in my community can relate to. When it comes to creating, I strongly believe in the fact that,
“Black art controls the “Negro’s” reality, negates negative influences, and creates positive images,”
A quote by Sonia Sanchez. As an artist of color coming from a low-income, single-mother household background, I am able to speak for many in my community from both my experiences growing up as well as express the beauty and hardships of my community’s culture and history. Being able to paint allows me to create for myself but also allows my work to connect to so many from my community. That is the beauty of being an artist, being able to express shared feelings and experiences with your community, where they can also can all take something from what you create.
There is so much to learn, and from that form of inspiration and influence, I create.
Portfolio Website: www.jamillaokubo.com
Shop my art prints here: http://aadatart.com/product-category/art-prints/jamilla-okubo/
SPREAD THE WORD TUMBLR FAMILY! I LOVE YALL!
*SIGNAL BOOST THIS PLEASEEEEE*
To add to that I grew up in South Africa. Went to school there a little after Apthartheid ended in 1996. I remember facing aggression and bullying at school not just from the Afrikaans kids at school as we were one of the first cohort of black children to go to what had recently been an all white school. It was expected that they would be tension from the white kids (I remember not being invited to their birthday Parties and such) But I really never expected the other zulu girls to be rude to me and my sister cause we didn’t speak the language. I wasn’t all too phased by the white kids bullying tactics this was 96, it wasn’t all the white kids but I remember not being Phased by it cause it was to be expected back then. However I remember being upset at the hostility of the black zulu girls. Thats when I learnt what xenophobia was. Whilst the doc above surfaces the issue, I appreciate it highlights peoples ignorance. How South African’s need to be aware of other peoples culture beyond their borders. In 2014 based on a lot of cross border collaborations that take place among South African artists and other African artists in various mediums I would like to think it has disintegrated xenophobic attitudes that may have been at their peak during the 90’s as the country itself was going through a great transition. Therefore I’d like to think the generation of young non South African African’s have it a little easier than I did back in ‘96.
Frankly Pan Afrikan - A Brief Discussion on Being a Black non-South African African in South Africa.
Xenophobia is one of those hugely concerning issues in South Africa that too often gets swept under the rug. Whilst the media does report the appalling violent crimes that are committed against African foreigners in the country in the name of prejudice and discrimination, however, an ongoing conversation about these issues is largely nonexistent. Negative stereotypes propagated by politicians, the media and ordinary citizens often go unchallenged due to the blissful state of ignorance surrounding xenophobia. As Ben from Tanzania confirms, “I don’t think South Africans care much about what happens up and beyond their borders”.
That is why this conversation is both necessary and important.
Here, five African professionals hailing from various parts of the continent gather for a ‘Frankly Pan Afrikan’ discussion, detailing their experiences as non-South African Africans in the country.
Whilst I wish it were a little longer and more in-depth, many statements made by the participants stood out to me as they largely echoed my experience of living in South Africa both as an African foreigner, and more particularly a Nigeria. As my fellow Nigerian points out, being someone who’s grown up in multiple countries, as much as I’ve enjoyed and loved living in South Africa, one thing rings true - “I’ve never faced as much hostility as I have faced here in South Africa”.
Style Icon: Mafikizolo’s Nhlanhla Nciza.
I just can’t let the month of August - Women’s Month in South Africa - go by without dedicating a few posts to my favourite women of Mzansi.
After a year of some serious hit-making with fellow artist Theo Kgosinkwe under the moniker ‘Mafikizolo’, in what I believe to me one of the best musical comebacks of all time, singer, songwriter, wife, mother and one half of one of the continent’s most popular groups, Nhlanlha Nciza is also a certified style icon. To call her any less would, at the very least, be an understatement.
Much like the genre of music Mafikizolo makes, Nciza’s style is a unique blend of various traditional African influences mixed with bits of contemporary African and Western fashions.
Although the band have always had an air of glamour and sophistication about them dating as far back as their Kwela, Van Toeka Af and Sibongiledays, where they channeled Sophiatown and took inspiration from other 20th century fashions, Nciza’s style has never been so bold, with her adoption of beautifully loud colours, and so distinctly representative of parts of the African continent - whether she’s wearing a gele, ankara styles common in West and Central African countries, jewelry inspired by East or Southern African cultures, silhouettes, prints, patterns and textiles from all over Africa. Not to mention how consistent her looks have been in all of their recent music videos, live performances and red carpet appearances.
But the best thing about Nhlanhla Nciza’s style has to be that, aside from looking flawless all the time, no one else can pull off what she does in the way that she does it.
"14-year-old Parkview High School Freshman, Caleb Christian was concerned about the number of incidents of police abuse in the news. Still, he knew there were many good police officers in various communities, but had no way of figuring out which communities were highly rated and which were not.
So, together with his two older sisters: Parkview High School senior Ima Christian, and Gwinnett School of Math, Science, and Technology sophomore, Asha Christian, they founded a mobile app development company– Pinetart Inc., under which they created a mobile app called Five-O.
Five-O, allows citizens to enter the details of every interaction with a police officer. It also allows them to rate that officer in terms of courtesy and professionalism and provides the ability to enter a short description of what transpired. These details are captured for every county in the United States. Citizen race and age information data is also captured.
Additionally, Five-O allows citizens to store the details of each encounter with law enforcement; this provides convenient access to critical information needed for legal action or commendation.”
This shi cray! man imagine opening your cupboard for a box of cereal and you greeted by that skull errday! Sick!
Maskull Lasserre - Anatomical Sculptures
So last night I had this dream that I was walking in a mall, nowhere to fancy, just a regular shopping center, like the commercial arcade bit in Avondale, then I walked into a pharmacy type shop kinda like a boots or superdrug, and I was stood by the make up section (obvi) looking at all these different prdts. I looked at some perfumes,lipgloss all that stuff, then I saw taylor swift had a make up range…and I was like oh she’s got a make up range too, first she wants to tell me how to smell now she wants to tell me how to look cute too huh? Then my eyes popped out when I saw this makeup range had only darker skin toned shades and I was like …whaaaa! it was like Sleek’s range bt with Taylor bloody Swift everywhere! I dont remember how much it cost but I just burst out laughing and then I woke up…or dreamt of something else I dont remember. Taylor swifts makeup range for chocolate girls was pure jokes though!
no lie, i lived in oxford for a couple of months, worked in a little posh choclate shop. Although some comments were well intended I couldnt help notice jibes of micro aggressive rascism. I’m zimbabwean but cause im excercising the desired protocol in customer service, a) you want to tell me “I speak good english, wtf does that even mean? b) you want to tell me about the time you went to Malawi, AFRICA is not a country! i havent got shit to do with Malawi? I know these are little things but goddam they ike me up all the same. so yeah i get where tis post is coming from.
Inspired by the truth and power of #ITooAmHarvard, people of colour who are students at University of Oxford in the U.K. created #ITooAmOxford to speak of their experiences with racism on campus. The photographs are diverse (there’s more on their site) and here I included some of the ones of Black women/women of African descent (my apologies if I misread any genders) as I did when I posted my now viral post on I Too Am Harvard because again it reveals the racist assumptions about both their intelligence and appearance, something I dealt with as a Black woman when I was younger and in undergrad/grad. I also noticed the sense of “place” and nationality that impacts the stereotypes that they face.
This is a point for the lies about racism being uniquely American to stop. Now. Today. I am tired of weekly emails from Whites ahistorically announcing how racism does not exist in the U.K. It is not their place to make that determination anyway; only Black and other people of colour can. The person who experiences the oppression, not the oppressor, the oppressed, not the privileged, speak truth to the experiences.
These students are speaking their truths. Do not ignore them. Their lives matter. They deserve better than the stress and even physical/mental health issues that dealing with racism can cause. Stereotype threat is real and impacts academic performance and health.
I wish these students the best. Much love. ❤
Come see these movies at the AFI Silver Theatre and Cultural Center
AFI Silver is proud to host the 10th annual New African Films Festival, co-presented by AFI, TransAfrica and afrikafé. This year’s festival —the biggest yet!— showcases the vibrancy of African filmmaking from all corners of the continent.
The AFI Silver Theatre is located at 8633 Colesville Road — at the intersection of Colesville Road and Georgia Avenue — in the heart of the new downtown Silver Spring.
HALF OF A YELLOW SUN
Q&A and book-signing with Chimamanda Ngozi Adichie on Mar. 16!
Nigerian-born British playwright Biyi Bandele translates Chimamanda Ngozi Adichie’s powerful prize-winning novel of the same name into an emotional drama that gives voice to personal stories of the indignities and atrocities suffered during the Nigerian Civil War. Set in the late ’60s, the film’s main characters, Olanna (Thandie Newton, CRASH), her sister Kainene (Anika Noni Rose, DREAMGIRLS) and Olanna’s revolutionary boyfriend, Odenigbo (Chiwetel Ejiofor, 12 YEARS A SLAVE), are forced to make bold choices in order to navigate the complex social terrain mapped out by Nigeria’s ethnic, political and religious divide, and survive. In a time when traditional life is at odds with the modern intellectual and economic aspirations of young Nigerians, the growing cultural divide between rural and urban life brings new challenges to a generation whose dreams would propel the country into the future. This film provides a rare and unique glimpse at this struggle for self-determination. (Note courtesy of AFI FEST.) Official Selection, 2013 Toronto Film Festival and AFI FEST.
DIR/SCR Biyi Bandele; PROD Andrea Calderwood, Gail Egan. Nigeria/UK, 2013, color, 106 min. In English. NOT RATED
Opening Night: Thu, Mar 13, 7:15, reception to follow.
(Also screening Sun, Mar 16, 1:00, featuring Q&A and book-signing with author Chimamanda Ngozi Adichie)
Twenty-five-year-old Tony and his younger sister Ange live together in a one-room apartment ever since the death of their mother. One night, hawking cigarettes to eke out a living, Tony joins a game of poker, starts winning and discovers a fast way of making cash. But his lucky streak can’t last forever and he quickly descends into the violent world of the “djassa” (ghetto in Abidjan street slang). An urban legend set to the rhythm of slam poetry and the beat of street dance, this vérité noir from filmmaker Lonesome Solo announces an exciting new talent and emerging vision from the Ivory Coast. Official Selection, 2012 Toronto Film Festival, 2013 Berlin Film Festival.
DIR/SCR Lonesome Solo; SCR Delphine Jaquet, Yacouba Soumahoro, Ange Ali Sanogo; PROD Philippe Lacôte. Ivory Coast, 2012, color, 70 min. In French and Nouchi with English subtitles. NOT RATED
Thu, Mar 13, 9:30; Thu, Mar 20, 6:00
Cameroonian filmmaker Jean-Pierre Bekolo (QUARTIER MOZART, LES SAIGNANTES) is one of the most intriguing directors in Africa, unafraid to challenge either political or conceptual boundaries. His newest work uses split-screens (at times, up to four images simultaneously) to present a fake documentary in which “the president” has disappeared; talk-show hosts, rivals, politicians and even rappers chime in on what may have occurred, and what their president for life has—or has not—done for Cameroon. “Being president means living the Hollywood dream,” wryly notes one commentator; this film, mixing reality, fiction, interviews and staged scenes, finds life and reason not in Hollywood, but in its own homeland. “We shouldn’t just be making movies, we should be changing reality,” charges Bekolo. This formally inventive, angry and at times humorous work begins the process. (Note courtesy of Pacific Film Archive.)
DIR/PROD Jean-Pierre Bekolo; SCR Simon Njami. Cameroon/Germany, 2013, color, 64 min. In French with English subtitles. NOT RATED
Fri, Mar 14, 6:00*; Thu, Mar 20, 9:30
THE FORGOTTEN KINGDOM
Best Director—First Feature Narrative, Pan African Film Festival
Atang leaves the hustle and bustle of Johannesburg to return to his ancestral land of Lesotho, where he must bury his estranged father in the remote, mountainous village where he was born. What begins as an inconvenience quickly becomes a magical rite of passage charged with humor and self-discovery. Stirred by memories of his youth, Atang’s journey takes an unexpected turn as he falls in love with his childhood friend, now a radiant young schoolteacher. Together with an 11-year-old orphan, they make the arduous journey across the breathtaking mountains of Lesotho to follow his love. Beautifully shot, written and acted, this epic and groundbreaking film is a pilgrimage of hope, family and maturity as Atang surrenders to the rhythm and traditions of his homeland. Audience Award, 2013 Woodstock and Sarasota Film Festivals. Official Selection, 2013 Palm Springs and Seattle Film Festivals.
DIR/SCR/PROD Andrew Mudge; PROD Timothy R. Boyce, Jr., Pieter Lombaard, Cecil Matlou. Lesotho/South Africa/US, 2013, color, 96 min. In Sesotho with English subtitles. NOT RATED
Fri, Mar 14, 7:30
In her feature film debut, Franco-Senegalese filmmaker Dyana Gaye charts a transcontinental voyage of accidental encounters and diasporic longing. Set under the skies of three cities—Turin, New York and Dakar—the film follows the fates of three characters connected by destiny. Sophie, a young bride from Senegal, travels to Turin in search of her husband Abdoulaye, who left Dakar without papers to seek work in the Italian city. Abdoulaye has already left Turin for New York, lured by his cousin and promises of a better future. Meanwhile, Sophie’s aunt in New York returns to Dakar to bury the husband she left 20 years before. With a careful eye and quiet intensity, Gaye fills each frame with the anxieties and interior struggles of her uncertain and undocumented travelers. A beautifully crafted meditation on place and belonging in an ever-globalizing, yet often unwelcoming, world. (Note courtesy of the Pacific Cinémathèque.) Official Selection, 2013 Toronto Film Festival.
DIR/SCR Dyana Gaye; SCR Cécile Vargaftig; PROD Arnaud Dommerc. Senegal/Belgium/France, 2013, color, 87 min. In French, Wolof, English and Italian with English subtitles. NOT RATED
Fri, Mar 14, 9:30; Mon, Mar 17, 9:30
Soccer-industry mogul Franz travels to Addis Ababa on a promotional tour, hoping to save his damaged reputation. Admassu is a 12-year old street kid, hoping to get the chance to show off his fancy footwork to the big boss himself. But when Franz brushes him aside, Admassu talks a rag-tag group of thugs into “kidnapping” the Swiss head honcho, while secretly planning to serve as his liberator—effectively forcing him to open the doors to the big leagues. But not everything goes according to plan in this charming crowd-pleaser, and the odd couple end up lost in the Ethiopian wilderness, fighting to make it back to Addis Ababa. A joyous film for the whole family.
DIR/PROD Stefan Jäger; SCR Ephrem Alemu, Mikyias Efram, Oliver Keidel, Abiange Tahun; PROD Stefan Gubser. Ethiopia/Switzerland, 2013, color, 90 min. In English and Amharic with English subtitles. NOT RATED (Recommended for ages 8 and up.)
Sat, Mar 15, 1:00
Based on the hugely popular series of graphic novels by husband-and-wife team Marguerite Abouet and Clément Oubrerie, this feature adaptation follows 19-year-old Aya of Yop City (a.k.a. Abidjan, Ivory Coast) during the mid-1970s. Surrounded by a loving family, Aya must balance her ambitions to study medicine with her family’s wish that she drop everything and get married. Her two best friends aren’t making it easier, more concerned with hairdos, hot fashions and husband-hunting than getting set on a career path. Vibrantly animated and backed with a groovy vintage soundtrack, this coming-of-age comedy makes the successful leap from page to screen.
DIR/SCR Marguerite Abouet; DIR/PROD Clément Oubrerie; PROD Antoine Delesvaux, Joann Sfar. France, 2013, color, 84 min. In French with English subtitles. NOT RATED
Sat, Mar 15, 3:00
Anne struggles to rebuild her life after Kenya’s civil unrest has killed her husband, gravely injured her son and left her isolated farm in ruins. Joseph, a quiet and troubled young gang member who took part in the countrywide violence, is drawn to Anne and her farm, seemingly in search of connection and redemption. This powerful story of forgiveness and reconciliation presents an intimate look at the aftermath of violence on both perpetrators and victims. From the producers of NAIROBI HALF LIFE (2013 New African Films Festival), this elegant and complex film from director Judy Kibinge proves that all wounds can heal, no matter how deep. Official Selection, 2013 Toronto, Chicago, Vancouver Film Festivals.
DIR Judy Kibinge; SCR Mungai Kiroga, JC Niala; PROD Sarika Hemi Lakhani, Tom Tykwer, Ginger Wilson. Kenya/Germany, 2013, color, 85 min. In Swahili with English subtitles. NOT RATED
Sat, Mar 15, 5:00
World Cinema Dramatic Audience Award, Sundance Film Festival
Panorama Audience Award, Berlin Film Festival
Ethiopia, 1996. Meaza is an empowered lawyer who provides free legal-aid services to poor women and children in need. Her life changes forever when she takes on the case of Hirut, a 14-year-old girl charged with the murder of her abductor and would-be husband. Inspired by this young girl’s courage, Meaza embarks on a long, tenacious battle to save Hirut’s life. First-time filmmaker Zeresenay Mehari has crafted a beautiful and important film, capturing Ethiopia in flux, grappling with traditions and looking towards the future. Based on a true story and executive produced by Angelina Jolie. Official Selection, 2014 Sundance and Berlin Film Festivals.
DIR/SCR/PROD Zeresenay Mehari; PROD Mehret Mandefro, Leelai Demoz. Ethiopia, 2014, color, 99 min. In Amharic with English subtitles. NOT RATED
Sat, Mar 15, 7:00
B FOR BOY
Breakthrough Audience Award, 2013 AFI Fest
Director Chika Anadu’s remarkable debut feature is a scathing critique of Nigeria’s patriarchal social order. Her protagonist, Amaka, maintains a happy marriage, raises a 7-year-old daughter and runs her own successful business, yet her failure to produce a son for her husband makes her a target of derision among family, friends and neighbors. Lead actress Uche Nwadili creates a gripping portrait of a poised, confident woman sinking further and further into a tangled nightmare as she desperately tries to hold onto the life she’s spent 40 years building. (Note courtesy of AFI FEST.) Official Selection, 2013 AFI FEST, BFI London, 2014 Rotterdam Film Festivals.
DIR/SCR/PROD Chika Anadu; PROD Arie Esiri. Nigeria, 2013, color, 118 min. In Ibo with English subtitles. NOT RATED
Sat, Mar 15, 9:40; Tue, Mar 18, 7:00
Special Jury Recognition—Director—First Feature Narrative, Pan African Film Festival
Thirteen-year-old Felix dreams of becoming a saxophonist like his late father, but his mother Lindiwe thinks jazz is the devil’s music. When Felix leaves his township friends to take up a scholarship at an elite private school, he defies his mother and turns to two aging members of his father’s old band to help him prepare for the school jazz concert. A crowd-pleaser for the whole family filled with joyous Cape Jazz, this film won the audience award at the prestigious Durban Film Festival in South Africa. Official Selection, 2013 BFI London and Vancouver Film Festival.
DIR/PROD Roberta Durrant; SCR Shirley Johnson. South Africa, 2013, color, 97 min. In English. NOT RATED (Recommended for ages 9 and up.)
Sun, Mar 16, 4:00
At 20, Ninah is a veteran wife of seven years and a mother of three who is stuck in an abusive relationship with no hope of change. When news of her gravely ill father reaches her, she disobeys her husband’s orders not to go so she can speak her piece to the man who put her in bondage. After her father’s death, Ninah refuses to return home and stays instead to run a small restaurant. When news reaches her husband that Ninah is pregnant, he comes to recover the dowry he paid or take home the woman he owns—by any means necessary. Best Film, 2012 Ft. Lauderdale Film Festival. Official Selection, 2013 Rotterdam Film Festival.
DIR/SCR/PROD Victor Viyouh; PROD Che Hilairius Fuh, Daniel Tan. Cameroon/US, 2012, color, 95 min. In English, Pidgin and Babanki with English subtitles. NOT RATED
Sun, Mar 16, 6:00; Wed, Mar 19, 9:30
THE KAMPALA STORY
Fourteen-year-old Karamojong girl Apio lives with her mother in the windswept plains of Uganda, surviving on money wired from her father in the capital, Kampala. But when Apio’s mother is pregnant and seriously ill, her father is nowhere to be found. Armed with nothing more than a piece of paper with her father’s name, Apio sets off on a life-changing journey to Kampala to get the money for her mother’s surgery. Stunningly photographed in a quasi-documentary style, filmmakers Donald Mugisha and Kasper Bisgaard have melded a delicate coming-of-age story with an affecting portrait of one of Africa’s great cities. Official Selection, 2013 Seattle Film Festival.
DIR/SCR Kasper Bisgaard, Donald Mugisha; PROD Tine Fischer, Patricia Drati Rønde. Uganda, 2012, color, 62 min. In Luganda with English subtitles. NOT RATED
Sun, Mar 16, 8:00; Wed, Mar 19, 6:00
In Rwanda in 1994, Manzi and Karemera are best friends who seem to be inseparable, until the inexorable forces of history and violence tear them apart. After the death of Rwanda’s Hutu president plunges the country into ethnic civil war, Manzi must choose between friendship and family, and Karemera pays the horrific price. Fifteen years later, news of Manzi’s release from prison throws Karemera’s life into chaos. Karemera attempts to return his childhood friend to prison, while Manzi struggles with his own guilt. As the former friends search for justice and absolution, they both find themselves at odds with a society eager to forget the trauma of the past. Can Manzi and Karemera remain true to themselves and also come to terms with their past? Official Selection, 2013 Chicago and Seattle Film Festivals.
DIR/SCR/PROD Joel Karekezi; PROD Veronique Doumbe, Casey Schroen. Rwanda, 2013, color, 73 min. In English. NOT RATED
Sun, Mar 16, 9:30; Tue, Mar 18, 5:15
A real estate developer, on the brink of bankruptcy, travels with his wife to a lavish and remote glass house bordering an informal settlement on a sweeping landscape in the Western Cape of South Africa. He is desperate to sell it. When his wife inexplicably goes missing, stifled by a sense of looming distrust and financial pressure, he is caught in a maze of missteps and uncertainty. What transpires within the walls of the glass house then has little to do with money and everything to do with the human condition: souls are left pondering the line between what is real and what is perceived. Official Selection, 2012 Durban Film Festival, 2013 Slamdance, Berlin Film Festivals.
DIR/SCR Harry Patramanis; SCR Jonathan Glatzer; PROD Eleni Asvesta. South Africa/Greece/US, 2013, color, 96 min. In English. NOT RATED
Mon, Mar 17, 5:15; Tue, Mar 18, 9:30
Despite a bum leg, 25-year-old Grigris has hopes of becoming a professional dancer, making some extra cash putting his killer moves to good use on the dance floor of his local club every weekend. His dreams are tested when his stepfather falls critically ill and he’s forced to risk his future by smuggling oil to pay the hospital bills. When he befriends Mimi, a beautiful but damaged prostitute, the two try to start a new life together. But as bad decisions begin to catch up with them, they’ll have to run for their lives. Their pasts, however, are never far behind, bringing them to a perilous climax. Vulcan Award for technical achievement, 2013 Cannes Film Festival. Official Selection, BFI London, Chicago, Philadelphia, Karlovy Vary Film Festivals.
DIR/SCR Mahamat-Saleh Haroun; PROD Florence Stern. Chad/France, 2013, color, 101 min. In French and Arabic with English subtitles. NOT RATED
Mon, March 17th, 7:20
Yusufu, a once-successful fisherman on Lake Malawi, is now struggling due to the depletion of fish in the lake, while his cultural values are being threatened by the expanding tourist industry. His son, whom he had hoped would be a fisherman, has become a tourist guide and rumors abound that he sleeps with both female and male tourists for money, while his young and beautiful third wife is torn between loyalty to her husband and the endless sexual overtures of a white tourist. The story develops into a cultural clash between traditional African values and modernization. (Note courtesy of Zanzibar Film Festival.)Best Narrative Film, 2013 Silicon Valley African Film Festival.
DIR/SCR/PROD Shemu Joyah. Malawi, 2012, color, 110 min. In English and Chichewa with English subtitles. NOT RATED
Wed, March 19th, 7:20
THE GREAT KILAPY [O Grande Kilapy]
Set in the period from the 1960s to the mid-1970s and on the eve of Angola’s independence from Portugal, João Fraga is a charming, good-hearted playboy and irresistible bon vivant, who appears to slip into a life of crime in order to support his affluent lifestyle. When he pulls off a massive swindle at the expense of the Portuguese colonial administration in Angola, he becomes a subversive political figure and is persecuted by the Portuguese dictatorship. Inspired by a real figure, Angolan director Zézé Gamboa’s decade-spanning historical drama is a refreshing take on the national liberation story in southern Africa and turns its conventions upside down with elegance and humor. Shot in sepia tones, this film stars the number one African Brazilian actor Lázaro Ramos (MADAME SATA), João Lagarto and Pedro Hossi. (Note courtesy of Pan African Film Festival.) Official Selection, 2012 Toronto Film Festival.
DIR Zézé Gamboa; SCR Luís Alvarães, Luis Carlos Patraquim; PROD Fernando Vendrell. Angola/Portugal/Brazil, 2012, color, 100 min. In Portuguese with English subtitles. NOT RATED
Thu, March 20 7:30
For those in the tri-state area…
My Africa Is on the big screen
Mary J Blige “Family Affair”
When folks first heard this song, we were all “Um, Mary what is a hateration or holleration?” Then, we was like, “fuck it, the song is good, just dance.” This song was Mary shaking off the problems, and letting loose with family.
Better yet, wtf is a dancerie?
But this is still the jam.
Mary J just casually expanding the vocabulary of an entire generation of Black folks. If you don’t fuck with this song STILL I can’t fuck with you.
we all collectively decided to roll with it and here we are
mary changed a nation tbh
She made up so many words omg.
I don’t need no hateration in this dancerie.