Agadez in Niger has long been the starting point for people smugglers moving migrants through the desert to Libya. Under pressure from Europe, the Niger government has been trying to combat people smuggling, but the local economy offers few alternatives. Those who give up smuggling usually end up in gold mining. But it’s hard and dangerous work, and only a few make their fortunes.
This documentary explores Nigeria's cultural practice of marking, including its origins and meaning as a symbol of identity, beauty and spirituality.
Serge Moati describes his film as "the saga of the 'children of the roads', builders of the future who "will one day cross countries that will look like gardens", as a lyric-amphigouric dialogue prophesied, declaimed by actors, quite amateurs, crossed all along the dusty tracks..."
Together with African small farmholders Tony Rinaudo, an Australian agronomist, has been fighting against the spread of the desert for 30 years and challenges ideas of conventional reforestation with his simple yet effective method.
Cabascabo, a veteran of the French colonial army in Indochina, returns to his home town in Niger, acclaimed by friends and relatives. In fragmented flash-backs, he tells the story of his adventure and the battles in that distant land.
Unemployed youths, many looking to leave the country for want of better options, are swelling the ranks of gangs that sow violence in Zinder, in Niger. Aïcha Macky explores the origins of the radicalization that is spreading through her hometown and the prospects for escaping it.
A bright and promising young girl gets abducted and taken to a terrorist camp, where she unexpectedly crosses paths with her soulmate.
Kasarmu Ce mixes Hausa and western storytelling techniques to create an enlightening, politically potent and culturally rich African thriller, complete with conspiracy, murder, and the power of "Dodo" spirits. Sani, a young man of charm and quiet self-confidence, is moved to act when his grandfather is killed by agents of a corrupt businessman, who wants to buy up the entire village with revealing that precious stones have been found all over its lands.
A devout Muslim daughter, stands at a crossroads as her father's desire to honor his late mother clashes with her dream of becoming a rapper, challenging the bonds of family and tradition.
Jallaba's trade boom crumbles due to internal conflict among the ruling clans. A new dynasty promises stability, shattered by a king's heir choice - his daughter. Princess, rival, and a deposed clan clash for the throne. Who will rule - and can Jallaba survive?
Prince goes Sahel in this colorful homage to Purple Rain. Set among the sub-Saharan Tuareg people, and reputedly the first feature film in their Tamashek language (which has no word for "purple," hence the title). Resplendent in a purple robe and matching chopper, smoking hot guitarist Mdou Moctar arrives in a music-mad Niger town and sets about wooing a local beauty, clashing with his pious father, and fencing with the jealous king of the local scene (Kader Tanoutanoute, as wily and dapper as Morris Day) until their climactic six-string shootout.
A Fulani milkmaid confronts religious extremists in rural Sub-Saharan Africa in a quest to locate her missing sister, but efforts to recapture her disrupted past prove complicated.
There is certainly some pressure to procreate in Western societies, but in some countries, it’s not even a question of choice. Married but childless, director Aicha Macky’s circumstance is judged unacceptable in her native Niger. Doctors haven’t been able to determine why she can’t conceive, but in her conservative Muslim society, women are always getting blamed for infertility, while men are rarely diagnosed. Speaking to her departed mother who died in childbirth, she expresses her deep sadness: “By giving life, you lost yours, whereas I’m dying a slow death by not being able to give life.” Drawing from her personal experience, Macky bravely addresses the taboo of childlessness and the stigma Nigerien women like her must endure. Through delicate, exquisitely shot portraits, and sensitive observation of other women’s secret suffering, she finds a way to affirm herself as a fulfilled individual among mothers.
Ibrahim navigates through his phobia to sounds made by water. He eventually faced it when he visits the river again with his friends.
Two former lovers reunite years after their breakup, and uncomfortably struggle to acknowledge the complicated feelings between them.
The idea for the project “Reykjavik Butterflies” was originally to create a narrative based film about art groups in Reykjavik. There were many artists that took part in this project, like musicians, street performers, illustrators, designers and filmmakers. They were alway presenting and performing new things every week. The most known art group was the street theater (“Götuleikhúsið”), like always their performance was impressive. Many artists that participated in the project are musicians. I chose three of them and used their music in the film. When I was halfway through filming, the idea changed into an experimental film. I decided to try to combine all of my filming and editing styles. I also experimented with new styles that I have never used before.
Zerzura is a feature-length ethnofiction shot in the Sahara desert. Mixing folktales and documentary, the film follows a young man from Niger who leaves home in search of an enchanted oasis.
A beach reminds us of Fati’s recent past. She came to Italy by sea, without papers, pregnant for the fifth time. Longing for her children, she returned to Ghana six months later – without her husband. The people around her can’t understand this decision. “You’ve created a mess,” a friend says. “How do I tell people?” a sister asks. But Fati wants to provide for her family, even though she still has to liberate three of her children from the custody of her in-laws.
Story of a Cunning man named Mati, who escape his home town village rimau and goes to zazzau in order to look for the treasure left behind by his wealthy deceased father.
Yolo (You only live once) is a Ghanaian teenage TV series. The series is a sequel of the Ghanaian TV Series Things We Do for Love. It advises and directs the youth concerning the challenges they face in their sexuality. A television series produced and directed by Ivan Quashigah
Top Model Ghana, was a weekly one-hour reality television series produced by 702 Productions, Ltd., and was aired on GTV. Inspired by but not licensed by ANTM, the objective of this program was to raise the caliber of young models in the country and enhancing the international perception of Ghanaian models. The grand prize was a working opportunity with a California modeling agency which was won by Mabel in the first and so far only Cycle. Auditions were held all through the state of Ghana where Ghanaians were called for casting. Applicants were required to be from 18 to 24 years old at the time of application and at least 5'7" in height, to be eligible to meet the character criteria as set by Producer. For 8 weeks, the 13 finalists lived in a house equipped with cameras and microphones. They were also evaluated by a panel of judges on both their filmed interactions and performance in challenges. These judges, including fashion industry experts, agency representatives, photographers and a weekly guest judge eliminated one contestant each week until a winner emerged. Each episode targeted a particular life skill and modeling requirement. Contestant's knowledge and familiarity with subject matter were tested in a challenge. Aspiring models were evaluated based on their performance in the challenges.
Who Wants to Be Rich? is a Ghanaian game show based on the original British format of Who Wants to Be a Millionaire?. The show is hosted by Kafui Dey. The main goal of the game is to win GH₵50,000 by answering 15 multiple-choice questions correctly. There are three lifelines - fifty fifty, phone-a-friend and ask the audience. There are only 8 contestants in Fastest Finger First round. Who Wants to Be Rich? is broadcast from October 2009 to today. It is shown on the Ghanaian TV station GTV. When a contestant gets the fifth question correct, he will leave with at least GH₵300. When a contestant gets the tenth question correct, he will leave with at least GH₵1,500.
