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Africa Night A series of short films hosted by Kevin Farmer
Ma ŋaye ka Masaala a se ka Wɔmɛti (From God To Man)
Dir. Lansana Mansaray
Synopsis: On the day that Lansana Mansaray was born, a tree was planted in his name in his father’s Limba village. Now an Emmy and Peabody nominated filmmaker, Mansaray returns to the same village to better understand the essential relationship that Limbas share with the trees that define every aspect of community life. As the smooth highways of Freetown give way to vermillion dirt roads, the car becomes just one means of transport; there’s the scent of chuk chuk plums, a memory of the Matorma sound (a singular rhythm associated with sacred Limba rituals), as well as jokes and poignant moments of connection arising from Mansaray’s diligent efforts to speak Limba. For a “city Limba man” like Mansaray, returning to his deceased father’s homeland becomes a journey of Indigenous reclamation. Amidst celebratory, humorous, and quotidian moments of village life, Mansaray interweaves reflections from a community that has endured more than its share of hardship — colonization, a civil war, and growing threats to the forests that the Limbas treasure. As with pouring out a little palm wine for the ancestors, Ma ŋaye ka Masaala a se ka Wɔmɛti is an offering to those who came before and to those who are still here. But as Mansaray playfully lets the viewer know, some things should not be shared with the rest of the world.
A moment to live
Dir. Salma Usama Zakiin
Synopsis“Nadia” a Veiled woman who decided to follow her dream which is to dive in the sea without burkini in an abandoned beach that nobody see her living her moment.
ENCHUKUNOTO (The Return)
Dir. Laissa Malihin
Synopsis: As the first female Maasai filmmaker, Laissa Malih initially set out to document the land-based practices of her forefathers and ways in which climate change is reshaping Maasai communities. In returning to the IL-Laikipiak Maasai village that her parents left when she was a child, Malih experiences an epiphany: her own life is a reflection of the myriad challenges between Maasai youth and elders, women and men, ancestral ways of passing down essential knowledge and modern methods of education. In ENCHUKUNOTO, Malih’s singular perspective also challenges ways in which the Maasai peoples have long been seen and documented by tourists and other outsiders. “Many tourists come to our Maa lands to film the lions, the gazelles,” she observes. “The camera takes and takes. I wonder what my camera can give my people in return?” In moments of clarity as well as vulnerability, Malih offers a heretofore unseen perspective as an insider and an outsider, a woman among men, a filmmaker carrying on sacred Maasai traditions of storytelling in an era defined by uncertainty.
Blood and Rope
Dir. Twamsen Danaanin
Synopsis: Nnadubem, a 21-year-old Igbo boy from Enugu, travels to Kano to work as an apprentice for his uncle, a car spare parts dealer, and becomes fascinated by dambe traditional Hausa sport that involves bare- knuckle boxing with one fist wrapped in rope. He decides to train and particpate in the sports as it teaches discipline, focus and presents a possibility to become a champion. He faces many challenges as obstacles, such as discrimination, the most of which comes from Ibrahim, who believes Nnadubem doesn’t belong. If Ibrahim fails to run him off in the street, he intends to do it in the ring and he is brutal. With the obstacles, injuries and self-doubt that comes with his decision, Nnadubem will eventually rediscover his identity, his courage, and his potential. He will get the chance to fight in front of a large crowd baying for his disgrace, and will prove himself and his worth. He will convert doubters to believers, and earn the love of the local Hausa community both on and off the dambe boxing ring.
The Bride's Tears
Dir. Moses Ipadeolain
Synopsis: With a gun pressed to her head, Omolewa is been compelled to drop tears on her “Bridal Tears” ceremony against her will. Despite the rumour of the diabolical use of the tears by her husband-to-be, Balogun. She will have to decide her fate and many others’ by getting married or running away with her secret lover, David. Omolewa eventually drops the tears, but the porch containing the tears is swapped by her accomplice. They both escape and they make for the river to be gone forever, they are chased down by the Balogun’s armed minions.
Pleasant
Dir. Olusola Robertsin
Synopsis: "Àdùnní" unveils the hidden struggles within a Nigerian village, where, a young tailor, hides the trauma of sexual abuse by a respected community leader, Mr Adisa. As Adisa's political ambitions grow, Adunni struggles with the weight of her secret. When she discovers she's not his only victim, Adunni finds the courage to confront Adisa publicly during a political rally. Her bravery inspires other victims to speak out, challenging the community's silence and exposing the dark truth behind Adisa's respected facade. "Àdùnní" explores the power of breaking silence and the strength found in unity against injustice.
Hope
Dir. Temi Ami-Williamsin
Synopsis: Ireti* is a powerful narrative based on a true story that follows Iyanu, a young woman in her twenties, as she faces a life-altering health battle. The film opens with Iyanu experiencing severe back pain, leading to a medical examination that uncovers a diagnosis of Non-Hodgkin's Lymphoma. Though the news is crushing, Iyanu remains determined not to let the illness define her life. Despite her deteriorating health, Iyanu is passionate about her creative work as a costume designer. She sets out to create an elaborate butterfly-eagle mashup costume, symbolizing her strength and resilience. The butterfly serves as a metaphor for transformation, as Iyanu faces the emotional and physical challenges of her illness. Her family, particularly Aunty Lola and Uncle Segun, express concern, urging her to take it easy, but Iyanu insists on continuing her work, finding solace and purpose in her artistic process. Throughout the film, Iyanu’s journey is marked by her unyielding determination to maintain her sense of self. As she endures chemotherapy and the side effects of her treatment, she continues to push through, often in pain but driven by her desire to finish the costume. As the film progresses, Iyanu’s family rallies around her, helping her in both her treatment and her creative endeavor. The emotional weight of the situation grows as Iyanu undergoes isolation in the hospital due to her severely weakened immune system. The film reflects on the toll cancer has already taken on the family, as they recall the recent loss of a loved one to the same illness. Despite the immense physical and emotional suffering, Iyanu's spirit remains unbroken. In the final scenes, the butterfly costume is completed, a testament to her persistence and creativity. Just as the costume is finished, Iyanu’s fight also reaches its end with Iyanu wearing her butterfly costume, her wings spread wide, a symbol of her resilience and new beginning. She declares, "It is finished," not as an end, but as a celebration of completing her creation and the personal growth that came with it. Rather than a story of loss, Ireti is about survival, creativity, familial support and the unbreakable spirit of a young woman who refuses to give up, it is a story of courage, perseverance, and the power of art to uplift even in the face of life’s greatest adversities.
Toll Free
Dir. James Amutain
Synopsis: A high flying therapist, triggered by a troubled couple, is forced to face her past or loose her freedom forever
NEPA (Never Expect Power Always)
Dir. Hilary Zin Gabrielin
Synopsis: SIR, a troubled man in his early 30s, rushes his injured unconscious wife to a hospital after she fell down the staircase during a romantic time at home. At the hospital, his wife is stabilized and put on life support where she fights for her life. The doctor reveals that the life support machine is connected to the hospital grid and can only last nine minutes if the electricity goes off. This causes the hospital to be thrown into a "frenzy" when the only source of power, 'NEPA', keeps fluctuating and backup generators supposed to keep the life support machines working fail. Consequently, Sir finds that he is the only one truly concerned about the power situation and the well-being of his wife. After much struggle, Sir's wife dies and with the grief he feels, Sir decides to take revenge on the people he thinks are the root cause of her death; NEPA Officials and the hospital.
Salamatu's Rhapsody
Dir. Adejumo Oluwatimilehin, Abu-Bakr Adamuin
Synopsis: Salamatu's Rhapsody explores the themes of self-discovery and the clash between tradition and modernity in Northern Kaduna. The film follows the journey of Salamatu, a young woman torn between her love for hip-hop and her family's expectations. Through her struggle, the film reflects the broader societal tensions between traditional values and contemporary aspirations. Ultimately, it tells a powerful story of resilience and the transformative power of pursuing one's true calling, even in the face of cultural norms.
Love me
Dir. Toloupe Ajaylin
Synopsis: Geneticist Femi Fernandez seeks the perfect painting
and finds herself unexpectedly drawn to artist Fola Ayeni at his Lagos
exhibition. As Fola agrees to help with her quest, their growing attraction
blurs the lines between predator and prey.