In particular, Pan-African film festivals have played a key role in promoting African and diasporic cinema to global audiences. Let’s look at a few Pan-African film festivals around the world and their impact;

Film Africa – London, England

Film Africa is the biggest Pan-African film festival in London and one of the leading film festivals in England at large. Established in 2011 and run by the Royal African Society, it is one of the key stages for celebrating African cinema in the United Kingdom. It offers a platform for filmmakers from Africa and the diaspora to present their work to a global audience. The 2022 instalment showcased 48 films both in cinemas and online, from 16 African countries and around the diaspora.

On top of screenings, the festival includes events like workshops, masterclasses and Q&As with different directors. The Film Africa Festival also facilitates the Baobab Award for Best Short Film and the Audience Award for Best Feature Film. The awards feature cash prizes which encourage new voices in African cinema to take the stage. This is a biennial festival and its next instalment can be expected in 2024.

The Pan African Film & Arts Festival (PAFF) – Los Angeles, USA

This list wouldn’t be complete without mentioning the famed the Pan African Film & Arts Festival (PAFF). Established in Los Angeles in 1992, PAFF is the biggest black film and Arts Festival in the United States. Started by Danny Glover, Ayuko Babu and the late Ja’Net DuBois, this festival has become a favourite of the African American community. Every year it showcases a staggering 200 films from Africa and the diaspora. Like most contemporary film festivals, it has a mix of physical and virtual screenings to cope with changes since the COVID-19 pandemic. Due to popular demand this year, there was a virtual encore screening several weeks after the festival ended.

The festival is not limited to only film. It also features showcases by talented black artists and craftspeople. PAFF is also known for its star-studded red carpets, workshops and panels with top film industry professionals. The festival is typically held in February so we can look forward to its next instalment next year.

Pan-African Film & TV Festival of Ouagadougou (FESPACO) – Ouagadougou, Burkina Faso

We cannot talk about Pan-African film festivals without going to Africa itself. We cannot go to Africa without mentioning the Pan-African Film & TV Festival of Ouagadougou, more commonly known as FESPACO, the acronym for its French translation. This biennial festival is the largest in Africa and was established in 1969. It has been kept running despite years of political instability and military violence. The Burkina Faso government specifically ramped up security for this year’s edition which took place from February to March. The fact that it has endured all odds exemplifies the strength of African filmmakers.

The unique aspect of this festival is that it only showcases works by Africans. Every two years, it attracts the big and small of the African film industry. More than the fame and prizes, the festival brings together Africans in Africa to enjoy the work of our own hands. FESPACO especially champions work of the youth and women, with about half of this year’s submissions being directed by women.

Keep in Mind,

These are only a drop in the bucket of Pan-African film festivals. Whether you are on the continent or in the diaspora, take advantage of the festivals near you to enjoy African cinema. With many offering virtual screenings, talks and workshops, you can attend wherever you are.

Also Read: The Rise Of Nigerian-British Filmmakers

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This powerful film has been praised for its strong feminist message as well as for its artistry. Let’s break it down;

The Story and Characters

The film tells the story of Subira, a young Muslim girl living on the small Kenyan island of Lamu. She spends her free time with her loving father, a fisherman, who promises to teach her how to swim. Her only dream is to dive in the ocean, even if the local customs see this as taboo. Over the years, she remains carefree until she is suddenly thrust into an arranged marriage with a stranger from the capital city, Nairobi.

Tradition and religion were strong themes which were portrayed with nuance. Subira felt trapped by marriage, yet her best friend had longed for it since she was a little girl. We were also shown that Kenyans are not a monolith; the characters had very different experiences of the same events depending on their gender, age and environment. Tradition can unite and divide at the same time. There were masterful portrayals of the different relationships in this film, especially between Subira and each of her parents.

The core message of women’s freedom is something many of us can relate to. In an interview with Ebru TV, the lead actress Brenda Wairimu said, “If you ask me, this story is based on a true story for everyone.” Even if you’ve never been to Kenya or even never seen the ocean, this story carries a truth that women everywhere have all lived through. Subira’s gentle stubbornness is something we could all learn from.

The Visuals and Sound

The sound design and music choice for this movie was simply stunning. Coastal music with Arabic influence is the very first thing that captures your attention when the movie begins. The music slowly shifts from more traditional Swahili sounds to urban music when the setting changes from Lamu to Nairobi. At the movie’s premiere, the poet and playwright Sitawa Namwalie commented on the creative use of silence in this film. There was little dialogue which left much of the story to be told with visuals, scenic sound and subtle expression.

The scenes of the crystal blue ocean at Lamu were gorgeous. Although the shots themselves were not technically complex, they had the intended effect. This movie was the definition of making a lot out of a little. I also noticed that special care was taken with wardrobing. In the first scene, Subira is a child dressed head to toe in bright green. She continues to wear green in the subsequent scenes but less and less as she ages, until the day of her wedding, when she is shrouded in pale green lace. The moment she leaves Lamu, she doesn’t wear the colour again. I interpret this as the loss of her youth.

In the End

Some may criticise this film by saying that it is simple. In my opinion, not everything needs to be complex. It is beautiful in the way swimming in the ocean in; vast yet uncomplicated. However, I will admit that other than Subira’s father, the portrayals of the male roles could have been more convincing and compelling. Overall, this was an artistic and refreshing watch that you should definitely check out.

Also Read: Netflix Hidden Gems: Love Today

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First on our list is Loukman Ali’s The Girl in the Yellow Jumper. This tense 2020 mystery-thriller was the first Ugandan movie to be added to the Netflix catalogue. It is critically acclaimed in East Africa but still not yet widely known to audiences around the world. Let’s dig in.

The Story and Characters

The story begins with Jim, a seemingly ordinary man asleep in front of a TV that’s playing a news report of a serial killer called the “Cigarette Butt Killer”. A figure in a gas mask and a yellow jumper quietly breaks into the room and drugs Jim. The story takes us on an unexpected journey of a kidnapping, a string of murders and discovering who the real villains are.

This film was an exercise in tension and pacing, truly earning its title as a thriller. The complex narrative makes it a perfect watch for those of you thirsty to figure out a short but engaging mystery. Clocking in at 1 hour 20 minutes long, it’s just long enough to keep you hooked. Be warned; this is not a light movie for casual viewing, so only watch it if you plan to pay attention. There are a few brief scenes of graphic violence, just in case you’re wary of blood.

One of the biggest criticisms of African films is having one-dimensional storylines and characters. That’s not the case for The Girl in the Yellow Jumper. The characters seem straightforward at first, but the more you watch you’ll see the complexities between each one. Compelling performances from Maurice Kirya, Michael Wawuyo Jr., Rehema Nanfuka and Oyenbot will have you rooting for multiple sides by the time the movie ends.

The narrative is littered with foreshadowing and red herrings. The puzzle pieces don’t fully click together until the very end, which makes for a satisfying finale.

The Visuals and Sound

Loukman and his team really brought in the big guns when it comes to cinematography. The lighting and tone of the film reflect old-school 90s films, while still being set in the present day. Much of the movie takes place on a highway and we are given beautiful shots of Ugandan nature throughout. I appreciated the creative camera angles during the fight scenes and kidnapping scenes.

The music choices were very appropriate, incorporating contemporary Ugandan music sounds. The sound design elevated the visuals to create the distinctive ambience of every scene.

The movie also included some refreshing animated scenes, something hard to pull off in the thriller genre. In this way, the heavy tones of death and abuse were balanced out with a few lighter scenes that elaborated on Ugandan traditions.

Admittedly, there was a point at which the transition between shots could have been smoother. However, the quality of the filming and editing was really remarkable for a production done on a shoestring budget with multiple interruptions.

The Bottom Line

We definitely recommend giving The Girl in the Yellow Jumper a try. While there could be room for improvement in the production and a few character portrayals, it’s a solid film nonetheless. Anyone in the East African film industry can tell you how hard it is to get a feature film on the global stage. A lot of blood, sweat and tears went into this movie, and it paid off.

Also Read: 5 Films In 2022 With Creative Concepts

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What is Netflix Doing?

This past year, Netflix announced two initiatives to facilitate filmmaking growth across sub-Saharan Africa. Firstly, they announced the short film competition African Folktales, Reimagined. Made in partnership with UNESCO. The competition allowed filmmakers across various African countries to pitch short film ideas focusing on telling classic cultural tales with modern twists. The competition’s winners would then receive a $75,000 budget and training to produce the films. With Netflix releasing the finished projects in 2022.

And the company also detailed plans for the new Netflix Creative Equity Scholarship Fund. Which will offer scholarships for film and TV students across the continent. Initially, $1 million has been contributed. This money goes towards helping media students with tuition, accommodation, course material, and living expenses during their studies. It begins operation this academic year in South Africa. Students from the South African Development Community wanting to study there were also eligible. Netflix plans on rolling the scheme out to more parts of Africa soon.

What Does This Mean For Film Makers Across Africa?

As with Netflix’s prior investments into international markets, this represents a great opportunity for emerging and established filmmakers. Netflix’s scholarship program can provide underprivileged media students with the ability to pursue education in their chosen fields. Additionally, the short film competition and the drive for more content generally, allows creatives old and new the chance to have their work seen on a platform with a huge reach. Not only showcasing their talents to worldwide audiences but increasingly across the continent itself.

With the schemes covering a range of countries and cultures, it will also allow the countries of Africa to be shown in their diverse glory. Rather than being shown as a monolith, as many Western films portray the continent. And these efforts to help develop Africa’s creative industries could lead to the creation of 20 million jobs. And kickstart a thriving film industry, thereby ensuring more opportunities for years.

However, there are some concerns. Because Netflix is a business it will be aiming to showcase projects that will garner wide interest. Meaning potentially culturally interesting ideas might not be presented. Instead, Netflix may favour appealing to the largest possible audience. For example filmmakers like Imoh Umoren claim streaming services are primarily looking for English language content in the region. Therefore providing a rather shallow view of various African cultures and art. As well as excluding a lot of artists. Finally, with Netflix only investing a small amount of money in the region (a fraction of what it invested in South Korea), the venture feels comparatively half-hearted.

Conclusion

Netflix’s bid to kickstart new opportunities for African filmmakers is a promising one. Providing creatives with the ability to make content for their renowned platform will give them attention internationally and within Netflix’s budding subscriber base across Africa. And scholarships for media students in the SADC region allow new creatives to pursue their passion. Along with potentially creating demand for millions of new jobs. However, Netflix’s current strategy needs some work. To avoid reducing the continent’s unique, diverse art and its hard work solely to a tool for Netflix’s advancement with international markets.

Also Read: Netflix and The Success of South Korea

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Warrior Spirit: Forged In The Fires of Muay Thai is available now on Amazon Prime.

Check out Muay Thai Masters Academy: www.muaythaimastersacademy.com

Watch the full interview below

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