Africa is the heart of the world. Heaped with incredible cultural diversity the continent is a force in the film world that is destined to breach across to cinemas worldwide in the future. You may already have seen some of the best African films featured below already. For example, 2009’s District 9 – an ingenious documentary style science fiction set in South Africa made it big overseas. Africa also has it’s own Hollywood in Nigeria’s Nollywood, which churns out almost as many films as Bollywood every year.
Find the best African films below. My advice would be to start with Black Girl and work your way up to Timbuktu.
Or if you’re looking for the best films from a particular country, head straight to their country pages using the links below:
Algeria, Angola, Benin, Botswana, Burkina Faso, Burundi, Cameroon, Cape Verde, Central African Republic, Chad, Comoros, Democratic Republic of Congo, Republic of Congo, Cote d’Ivoire, Djibouti, Egypt, Equatorial Guinea, Eritrea, Eswatini, Ethiopia, Gabon, The Gambia, Ghana, Guinea, Guinea Bissau, Kenya, Lesotho, Liberia, Libya, Madagascar, Malawi, Mali, Mauritania, Mauritius, Morocco, Mozambique, Namibia, Niger, Nigeria, Rwanda, Sao Tome and Principe, Senegal, Seychelles, Sierra Leone, Somalia, South Africa, South Sudan, Sudan, Tanzania, Togo, Tunisia, Uganda, Zambia, Zimbabwe
*We’re still looking for the best African films from countries without pages. Send us your recommendations.
From: Angola, Africa Watch: Trailer, IMDb Next: The Magic Gloves, The River, The Burial of KojoContinue reading “Air Conditioner – A Laid Back Mystery Tour of Luanda”
Whilst the plot of The Bloodettes may be loose and confusing, it’s something new, sexy and stylish. Neon night club lighting, as well as masses of jump cuts, dissolve cuts, and slow motion shots (that would make John Woo proud), all backed by an energetic Tsotsi-esque soundtrack makes this one of the most original films I’ve seen from Africa. This is Cameroon in 2025.
From: Cameroon, AfricaContinue reading “The Bloodettes – A Stylish, Sexy, Futuristic, Vampire Film from Cameroon”
Watch: Trailer, Kanopy
Next: The Killer, Tsotsi, Pumzi
If you want to see a great film about life in post-genocide Rwanda then watch Munyurangabo. The production quality isn’t great and there’s a lot of singing that pops up now and then, but the dialogue is simple and waterproof. It doesn’t offer you much at the start, but it slowly reveals more and more as the film progresses until you realise you’re watching a much deeper film than you thought.
From: Rwanda, AfricaContinue reading “Munyurangabo – Post-War Rwanda through the Eyes of Friends”
Watch: Trailer, Rent on Amazon, Buy on Amazon, Tubi, Kanopy
Next: Hotel Rwanda, Look of Silence, Sleepwalking Land
A Storm Was Coming starts with a still shot of the landscape of Equatorial Guinea. Slowly, the landscape becomes more and more overexposed until the shot is completely whitewashed and the landscape has disappeared. This visual example of whitewashing to start A Storm Was Coming is a style that director Jose Fernandez Vasquez uses throughout the film to represent the Spanish Empire’s eradication of the culture of Equatorial Guinea.
The Spanish Empire controlled Equatorial Guinea until 1968. As presented by the Spanish texts from the Francoist era which are read in the film, their rule was benevolent. Colonialism and the power structures it left ensured that an indigenous voice didn’t arise to challenge the Spanish hegemony. This one sided history is represented throughout the film through the scenes of a white man recording Spanish history and the lack of indigenous representation.
Scenes of a white Spanish man in a recording studio reading passages from bibliographies of Spanish colonists make up the bulk of A Storm Was Coming. The passages, which are being recorded in a studio in Madrid, present a one sided view of the history of Equatorial Guinea from the capital of the colonizers. These scenes are visually supported by images of different Spanish missions in Equatorial Guinea appearing out of a blank screen, as if they’re appearing on white photographic paper processed in the photographic darkroom. Their appearance from nothing, perpetuates the controversial colonial viewpoint that colonialism ‘civilized’ their colonies, providing infrastructure, culture, and history. It’s a viewpoint that erases all pre-colonial history, as if nothing of significance existed before the colonists’ arrival. The director combines images of Spanish missions appearing from ‘nothing’ with the reading of Spanish colonial texts to demonstrate the Spanish hegemony of written, aural, and visual Equatoguinean history.
Whilst the voices of Spanish colonists are being preserved, the voices of the colonized have been lost. We hear from a few Bubi people (one of the indigenous groups in Equatorial Guinea), but we never see them on screen. They tell us about Esaasi Eweera, a Bubi leader who tried to resist the Spanish Empire. He’s a heroic leader in their eyes, but his resistance is diminished in Spanish texts. As a result, he has almost disappeared from history, just as the place of his birth has disappeared under overgrown bush. Furthermore, whilst the film spends a lot of time documenting the Spanish voices in Madrid and showing images of Spanish missions, the only pictures of native Equatoguinean people are flashed onto the screen for less than half of a second. Their lack of representation emphasizes how the Spanish rule has lasted visually and aurally, seared onto the minds of the native and Spanish people. In contrast, the Bubi have disappeared from the past and present; they don’t even appear in the film.
Well, at least until the very last scene. To prevent enforcing the Spanish narrative the film reveals, the director, a Spanish filmmaker himself, ends A Storm Was Coming with a face on interview with Bubi scholar Justo Bolekia Boleká. It’s the first time the director shows a native Equatoguinean on screen, giving him more respect than the other characters with a face to face interview. It’s also the first time we hear the Bube language. Ending with Justo Bolekia Boleká and his daughter reciting a Bubi poem in Bube, reveals one thing the Spanish couldn’t eradicate: memory. It’s an ending statement that shows that Bubi culture still survives, despite the Spanish cultural and historical hegemony which still holds power today.
Watched on Festival Scope Pro. This film screened at the Berlinale Forum 2020.
Dhalinyaro doesn’t tread the same paths of other African films set in Islamic countries. Instead of focusing on themes of patriarchy, tradition, or sexism that provides the main conflict in films like Papicha, Freedom Fields, Beauty and the Dogs, and Flesh Out, Dhalinyaro focuses on a fiercely independent trio of girls from modern Djibouti. Lula Ali Ismail’s debut feature, feels more like a companion to Celine Sciamma’s Girlhood or the first 20 minutes of Mounia Meddour’s Papicha with the friendship between three girls. It’s an impressive debut feature that is also the first film from Djibouti.
The main conflict of the film sits between the three girls. Their class differences are emphasized in the size and space of their houses, their everyday meals, and methods of transport (private vs. public). However, they’re also immediately distinguishable in the way that they dress. Hibo, a spoiled girl from a wealthy family shows the most skin, whilst Asma, from an underprivileged background is almost always fully covered. Deka, who sits in the middle in terms of class, is moderately dressed, serving as the middle ground between her two friends. Because she takes up the middle ground between Hibo and Asma, she’s the audience’s mediator in the relationship between the three girls.
Their backgrounds affect how they see the future. They all attend the same school, and are all good students, but the differing size of their support networks provide different opportunities to each of them. For Hibo, the most wealthy, her future is already decided. She will study abroad just like her sister, regardless of grades. For Asma, the poorest, her future is also decided. Her family cannot afford to send her abroad so she has no choice but to continue her studies in Djibouti no matter what grades she gets. Deka, our mediator, has the luxury of choice. She can decide to work hard and study abroad as her mother wants, or choose to study at home. In showing how the characters from different classes view their future, Lula Ali Ismail depicts the lack of class mobility in Djibouti. Asma will stay poor and Hibo will stay rich. Only Deka has the opportunity to change.
Dhalinyaro is a high school drama with depth and great character development. Hopefully it won’t be the last film we see from Lula Ali Ismail or Djibouti.
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