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Ola Balogun's first feature film was made in France and focuses on a group of young Black intellectuals and artists. At the centre is Alpha, whose scepticism more
Ola Balogun's first feature film was made in France and focuses on a group of young Black intellectuals and artists. At the centre is Alpha, whose scepticism about fixed appellations is also expressed in his own chosen name. In his Parisian garret, the characters debate politics, art and philosophy and negotiate Black identity and cultural heritage. The action continues on its improvised way in the cafés, parks and nightclubs of Paris until Alpha finds himself between the fireworks and the celebrating masses on Bastille Day – in the middle and yet on the margins. close
When Obi Okonkwo completes his studies in England and returns to Nigeria, he finds himself in a country marked by rapid industrialisation and deep political more
When Obi Okonkwo completes his studies in England and returns to Nigeria, he finds himself in a country marked by rapid industrialisation and deep political change. In a time of social upheaval, Obi represents modern Nigeria. Through his gaze, his own expectations, those of his environment and the woman he loves become visible. And the disappointment of these expectations. Obi experiences the spreading corruption, the dominance of the Europeans and the conflicts with the values of traditional societies. In flashbacks, his struggle is interwoven with that of his grandfather Okonkwo. The latter experiences the first foreign influences in his village of Umuofia, from the arrival of the Christian missionaries to British colonialism. close
An African dictator (Wole Soyinka) needs to convince the former king (Rashidi Onikoyi) to legitimize his reign by offering him the ceremonial jam at the upcoming harvest festival.
An African dictator (Wole Soyinka) needs to convince the former king (Rashidi Onikoyi) to legitimize his reign by offering him the ceremonial jam at the upcoming harvest festival. close
Freedom, Nigeria's contribution to the 1957 Berlin Film Festival, was based on a play commissioned by the Moral Re-Armament Association. Based on a stage more
Freedom, Nigeria's contribution to the 1957 Berlin Film Festival, was based on a play commissioned by the Moral Re-Armament Association. Based on a stage piece, the film is an unabashed paean to the MRA, demonstrating how the organization helped to check British colonialism and radical insurrection in Nigeria and bring peace to the troubled country. Subtlety is not the film's strong suit, and as a result the film seems at times to be a self-parody. Reportedly the first African production to be lensed in color, Freedom benefits from the cinematographic expertise of Scandinavia's Richard Taegstrom and Aimo Jaederman. The film was enthusiastically received at the Berlin festival, but fared less well when released internationally. close
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