Mbissine Thérèse Diop

Eager to find a better life abroad, a Senegalese woman becomes a mere governess to a family in southern France, suffering from discrimination and marginalization.

Exploring the extraordinary contributions of women filmmakers from Africa and the diaspora, Beti Ellerson’s engaging debut intersperses interviews with such acclaimed women directors as Safi Faye, Sarah Maldoror, Anne Mungai, Fanta Régina Nacro and Ngozi Onwurah with footage from their seminal work. With power and nuance, Ellerson also confronts the thorny question of cultural authenticity by revisiting the legendary 1991 FESPACO (Pan-African Festival of Cinema and Television of Ouagadougou), in which diasporian women were asked to leave a meeting intended for African woman only. This film is both a valuable anthology and a fitting homage to the pioneers and new talents of African cinema.

As World War II is going on in Europe, a conflict arises between the French and the Diola-speaking tribe of Africa, prompting the village women to organize their men to sit beneath a tree to pray.

Monsters fight with each other in a dystopian world, playing out the revenge of their human breeders.

Amy, an 11-year-old girl, joins a group of dancers named “the cuties” at school, and rapidly grows aware of her burgeoning femininity—upsetting her mother and her values in the process.

The life and death of Robert Moussombe, the leader of an unnamed African state. Moussombe is a fictionalized portrait of assassinated Congolese leader Patrice Lumumba, and the film's events are a pastiche of the Congo Crisis in 1960s.

Meet Ousmane Sembene, the African freedom fighter who used stories as his weapon.