With quarantine restrictions still in place in Los Angeles, AFI Fest has launched as a virtual film festival this year with the help of the Eventive film platform. Despite the challenges that is 2020, AFI Fest has still managed to gather a wide slate of over 100 films from around the world. So whilst no one will be in Hollywood in person, it’s still one of the most prestigious film festivals in Los Angeles in spirit.
I’ll be trying to catch as many of the films from the World Cinema and New Auteurs sections, as both contain a bunch of interesting selections from around the world. Check back here to get the lowdown of some of the films from both sections and a full festival recap a little while after it ends.
Los Angeles has a lot of film festivals. Most have a focus: PAFF focuses on Pan African films, Outfest focuses on LGBTQ+ films, and LA Shorts Fest focuses on short films. AFI Fest stands out as the city’s biggest general film festival. Like a TIFF, Berlinale, or London Film Festival, AFI Fest screens exemplary movies from around the world in addition to showcase galas and premieres. AFI Fest 2020 was no exception.
However, 2020 has not been a normal year and because of it, AFI Fest’s 2020 edition was not a normal festival. Instead of taking place in Hollywood, AFI Fest 2020, like many other 2020 film festivals, took place virtually online with the TV and computer screens replacing the big screen. So whilst we can’t give you an overview of the audiences and location like we’ve previously done for the Santa Barbara International Film Festival and Pan African Film Festival, we can give you an overview of the experience and the films from AFI Fest 2020.
The Experience
One immediate plus of the virtual film festival format was that there was no waiting. Instead of queuing up before each screening and running between theaters to cram in as much as possible, all you had to do was click a few buttons from your couch. You could have watched 5 films a day and still have had enough time to make breakfast, lunch, and dinner, before an early night. The only gripe I had was that the staggered release of the movies over the course of the festival, which meant you still had to create a film schedule to make sure you didn’t miss anything. AFI Fest 2020 could have fully embraced the virtual format by making everything available throughout the festival to fully cater to the audience. That being said, although it was shame these films couldn’t be seen on the big screen, the overall transition to virtual worked perfectly.
The Films
AFI Fest 2020 championed its diversity from the first press release. Of the 124 films included in the festval, 53% were directed by women, 39% by BIPOC, and 17% by LGBTQ+. There was a decent representation of most of the world too. The Americas and Europe were strongly represented, and there was also a good representation from Asia. However, like SBIFF 2020, AFI Fest 2020 contained little from Africa and Australasia, with just 2 feature films and 1 short from Sub-Saharan Africa, and none from Australasia outside of Australia and New Zealand. It’s not that these parts of the world aren’t making films, as the Pan African Film Festival demonstrated. It’s that they’re often overlooked.
The quality of the films at AFI Fest 2020 was high. There weren’t too many premieres, but there were a lot of great films picked from the year’s biggest festivals. I can happily say that all of the 17 films I saw were worth a watch. Here’s how they stacked up.
After seeing Mohammad Rasoulof’s A Man of Integrityfor the first time earlier this year and seeing him win the Golden Bear, I had high expectations for There is No Evil. Safe to say my expectations weren’t disappointed.
The Runner Up: 2
In a very close second is the immaculate Nasir. It’s a humble day in the life story that is beautifully written, shot, and acted.
The Multiple Perspectives: 3-8
All of these films are very good. 5 out of the 6 follow multiple protagonists to give the movies a more rounded perspective. The only one that doesn’t is The Intruder and it’s much more intriguing and uncertain as a result. I Carry You With Me, Farewell Amor, and Eyimofe are all relationship dramas that center on visa and immigration issues. My Little Sister and Downstream to Kinshasa both focus on grief and trauma – the former a family drama, the latter a protest documentary.
The Originals: 9-10
Both these films are framed around unique concepts which provide a lot of room for analysis. Tragic Jungle uses a Mayan myth whilst Apples uses an epidemic of memory loss.
The Foreigner’s Transformation: 11-12
Should the Wind Dropand Luxor are two warm films that I really liked. Whilst the foreigner’s transformation isn’t my favorite topic, they both worked very well. They both create location well too with one representing Nagorno-Karabakh and the other the ancient Egyptian city of Luxor.
The Artistic: 13-14
Notturno and Piedra Sola are amazingly shot. Between them they probably contain the best images of all the films I saw. The only problem was that these incredible images didn’t necessarily translate into a complete story.
The Rest: 15-17
Rival and She Paradise were both good movies. Rival was just a bit too bleak for me, and She Paradise didn’t hit the expectations I had from the short. New Order also opened well before descending into nihilistic chaos. I’m sure it will have it’s fans just like Todd Phillip’s Joker.
Conclusion
As Los Angeles’ premiere film festival, AFI Fest is unmissable if you’re a film fan living in the city. Whilst other festivals in the city choose a focus, AFI fest screens everything. This means you’ll get to see the best films from around the world, hand selected from the festival circuit. Every film offers something that makes it worth taking the time to watch.
Whilst we weren’t able to catch any films in-person at the 30th edition of the Pan African Film Festival, the virtual screenings were almost enough to compensate. Like previous years, the international film slate at PAFF 2022 featured films from countries that other festivals in the U.S. rarely represent. Inspired by Burkina Faso and Africa’s world leading FESPACO film festival, PAFF is the best place to see films from the African diaspora in the U.S. So if you’re looking for films from sub-Saharan Africa, the Caribbean, and Black directors around the world, you need to add the Pan African Film Festival to your list.
The International Films at PAFF 2022
As per previous years, we focused our coverage on the International films screening at PAFF. The Pan African Film Festival typically offers one of the most diverse film festival slates in the U.S., and this year was no different. 55 countries were featured along with 18 languages, including Papiamento, Swahili, Wolof, and Yoruba. The festival also does it part to foster new talent from around the world with 61 of the feature films coming from first time directors. The only improvement we’d love to see in future editions is equal gender parity in the director’s screened, especially within the international categories. Whilst 40% of the films featured were directed by women, it felt like this was boosted by the U.S. and short films.
Quality-wise, most of the films we saw this year beat the worst films from the 2019 and 2020 editions. Here’s how they ranked.
1. Bantu Mama (Dominican Republic)
Bantu Mama was the most polished movie we saw at this year’s edition. It has art-house production quality, memorable acting and characters, and it tells its story incredibly efficiently (clocking at just 77 minutes long). Plus the soundtrack was on point – sonically representing the meshing cultures in a tribute to their shared African heritage.
Like Bantu Mama, Tug of War‘s high production quality and art-house film language has helped it to screen at a few international film festivals already. It sets an anti-colonial romance within the picturesque island of Zanzibar and gives it a lot of Wong Kar-Wai style. World Cinema fans will find plenty to appreciate here.
We loved the relaxed pacing of The Crossing. There’s rarely a moment where it feels preachy or designed to provoke. Instead, the light comedy and hang-out vibes turn the often traumatic topic of Africa to Europe immigration into an easy and humorous watch.
Africa & I is the perfect viewing experience for anyone who wants (or wanted) to travel across the African continent. Othmane Zolati’s journey from Morocco to South Africa is unique and inspirational even if the narrative structure is fairly unoriginal. He shows you how to travel on a budget whilst deconstructing the tourist misconceptions of Africa.
5. Doutor Gama (Brazil)
Like Bantu Mama, Doutor Gama features another great soundtrack, this time courtesy of Tigana Santana. His voice gives a melancholy calmness to Dr. Gama’s traumatic life. Whilst the biopic is good, it feels a bit short. It jumps from slavery to an established civil rights lawyer in just a flash, when it could have done with covering more of his life in between.
6. Ayinla (Nigeria)
Ayinla‘s plot is a bit undercooked; hitting beats in Ayinla Omowura’s life without piecing them together. However, the music makes up for it, even if the lyrics aren’t always subtitled. For anyone into Nigerian music, or biopic style movies on making it in the music industry, Ayinla is worth a watch. It’s a decent tribute to both Ayinla Omowura and Abeokuta, the colorful city that both the director and the music star share.
If you’re looking for a well made film from Martinique that gives a sample of Martinican culture, watch Zepon. Whilst it falls into some tired World Cinema tropes, there are some brilliant moments in the film that are supported by light humor that carries the film from start to finish.
The Zoom call format of Tales of the Accidental City is a bit limiting, and already feels dated as quarantine restrictions have largely disappeared. However, if you’re simply looking for a quick Kenyan comedy, this film is worth a watch. It playfully makes fun of a few stereotypes of the city, giving the audience a few laughs and a small understanding of Nairobi society.
Israeli history is complicated, as any documentary on its formation and relationship with Palestine and the West can confirm. However, With No Land focuses on an overlooked prejudice – the rejection of the Black Ethiopian Jews into the Israel state despite the Israeli Citizenship Law that grants every Jew in the world the unrestricted right to become an Israeli citizen. However, whilst the topic is interesting and eye-opening, the abundance of talking heads interviewees makes it very dry.
10. Hairareb (Namibia)
Whilst there are some nice shots of the rural/desert landscape, Hairareb failed to live up to the blurb. It’s not about the drought that brought the two main characters together, and it’s not about the newlyweds past lives, or living in rural Namibia. All of the narrative development is sacrificed for the sake of creating domestic melodrama, leaving the film feeling pretty hollow.
Juwaa is a well produced movie from the African diaspora. However, it’s incredibly bleak. It hits all the genre tropes of misery porn, starting with a traumatic childhood event which destroys the characters later happiness. Whilst there is some sort of resolution at the end, it’s not enough to make up for the depressing time spent watching the rest of the movie.
Visit the Pan African Film Festival 2022 page for all our full reviews from the 30th edition of the festival.Reviews from past editions of PAFF can also be found here: 2020, 2021.
There’s always a lot going on at AFI Fest, from red carpet premieres and international film festival hits to highly anticipated films from returning filmmakers. However, the short films can sometimes fly under the radar, even though it always features a wealth of talent. This year we focused on the animated offering with a couple of dashes of live action.
Here are our highlights from the short films at AFI Fest 2026.
The Best Short Films at AFI Fest 2026
Trading Cards (Australia)
The sinister nature of Trading Cards fit the week-before-Halloween timing of AFI Fest perfectly. It explores identity, mental health, and the erosion of childhood innocence through the story of a man who journeys back to encounter his younger self. The animation of the older self reminded me of the morally ambiguous villains of Studio Ghibli films that you never fully trust. He’s creepy and creatively animated, and he makes this short unique and memorable. Director Radheya Jang is one to look out for in the future.
Venezia Diorama (Italy)
Somehow Venezia Diorama manages to be both classic and fresh. The quaint pictures of Venice are elegantly detailed, giving the short a timeless feel, while the little windows where the animation occurs are uniquely captivating. These animation windows highlight movement in an otherwise still-life picture, and convey the effects of time and erosion on a city; showing Venice slowly succumbing to time.
We Were Here (India)
Silly, but pertinent, We Were Here follows three men that can’t find work and choose to become robots in a satirical play on the rise of ‘artificial intelligence’ and smart machines. The jokers in this docu-comedy emphasize both the uselessness of humans playing machines and the specificity of machines in the human realm. It’s a tongue-in-cheek protest against the current capitalist state of the world and a reminder that humans will always be more human than machines.
In The Beginning (Poland)
In The Beginning tells three quirky true stories about our treatment of animals across the ages. Each story is quite interesting and captured my attention in the same way as the science videos from Kurzgesagt. However, the beautifully vibrant coloring sets this short apart. Each story is marked by a different color, which while simple, appears dynamic and eye-catching.
Where Were We (India)
Studio Eeksaurus have dropped the most creative animated commercials of the past year in Desi Oon and The Godawan, so we weren’t surprised to find more creativity here. In Where Were We, we’re taken on a trippy dive into an anxiety laden handbag, with each item coming alive to portray different anxieties in the owners life. This short further proves the talent of Studio Eeksaurus and shows that they don’t need advertising money to make great short films.
Saba (U.S.)
Combining an emotional punch with an imaginative world in which gravity is reversed, we would not be surprised to see Saba on the Academy Awards shortlist in the not too distant future. It shows Saba, a grandfather, with his grandson living on a floating boat reminiscent of the titular castle in Howl’s Moving Castle. As they navigate storms, and Saba metaphorically ascends to heaven, the grandson transcends horizontal planes to find closure. It’s an emotional and creative hit.
Aktos (Kazakhstan)
It’s not often you see Kazakh animations on the festival circuit, so this is worth a watch just for this reason. However, more than that, you can find felt-based characters that ooze a homey warmth through their texture. The depictions of traditional Kazakh clothing and food also turn this sad tale into a heart-warming one. The flashbacks and backing soundtrack might add a bit too much melodrama, but it’s a method that almost guarantees tears in the film’s viewers.
We strongly encourage everyone to check out AFI Fest next year. Please find previous coverage of AFI Fest here and check the official AFI Fest website for news on next year’s schedule!
Last weekend, the 5th edition of the Nollywood in Hollywood film festival returned to Los Angeles for another brief showcase of the best Nigerian films from the past year. This year, the festival ran for two nights, screening Gone at the USC School of Cinematic Arts on Friday, before heading over to the West Side for Juju Stories at The Aero. Whilst we were only able to attend Saturday’s screening, we encourage all film fans to look out for Nollywood in Hollywood next year. Not only are the screening’s a brilliant showcase of new Nollywood films in a city that often overlooks the African film industries, but these screenings are free and very well hosted.
In many years of attending film festivals, Nollywood in Hollywood’s screening of Juju Stories was only the second which actually provided regional food to the entire audience ahead of the film. The other was a screening of Mohamed Al Daradji’s The Journey for the BFI Fest for which the Iraqi Embassy supplied Baklava to everyone attending. Whilst free food isn’t necessary to enjoy movies, it does add a memorable touch that will probably make you more open to whatever film you are about to see. From what we saw, the free meat pies, spring rolls, and puff puff excited a few attendants familiar with the foods, and made others more open to socializing to discover what the food was and to learn more about the event in the cinema lobby ahead of the film. It’s a great way to get an unfamiliar audience open to experiencing unfamiliar films.
Whilst ‘Nollywood’ has come to stand for all film production from Nigeria, Nollywood boomed in the late 1980’s/early 1990s with the arrival of the VHS system. VHS made filmmaking cheaper and therefore more accessible, allowing anyone (filmmaker or not) to have a go at making their own films. It also made it easier to distribute films, as VHS opened the home video market, meaning filmmakers didn’t have to have to make deals with theaters to get their films seen. Because VHS made it easier and cheaper to shoot films and get them seen, filmmaking in Nigeria exploded. At certain points in the 2000’s the Nollywood film industry was making an estimated 4 films a day! However, alongside the boom in production, the new face of Nigerian cinema faced a lot of criticism. Opening up the film industry to everyone loosened the standards of filmmaking as well as the themes. Many of the new Nollywood productions focused on witchcraft and juju, giving viewers a skewed view of Nigerian (and African) culture.
Juju Stories is an example of the current state of Nollywood film. As the focus of Nigerian film production has switched back to theatrical releases supported by larger budgets, the production standards have improved. Many Nollywood productions are now screened in cinemas at home or abroad, as well as reaching international film festivals and streaming platforms. Whilst the themes made popular in the Nollywood home-video era remain (such as witchcraft), the films look a lot better. Juju Stories is a great example of this. It includes three different stories shot by three different filmmakers from a Nigerian film collective that all touch on Juju. Each short is very well made, and the comedy fit the big screen environment perfectly. It reminded me of a screening of Argentina’s Wild Tales that I saw a while back in which one man, probably Argentinian, was cracking up throughout the film. Similarly, the audience at the Juju Stories screening was cracking up and shouting out at the characters on screen.
Unlike the Nollywood movies of the home-video era, today’s Nollywood films are at home on the big screen. So do yourself a favor and acquaint yourself with Nollywood at the Nollywood in Hollywood film festival next year to see Modern Nigerian film where it should be seen: on the big screen.
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