Kena and Ziki long for something more. Despite the political rivalry between their families, the girls resist and remain close friends, supporting each other to pursue their dreams in a conservative society. When love blossoms between them, the two girls will be forced to choose between happiness and safety.
Bereft of earthly memories, a new arrival in the afterlife struggles to recover the past, in this poetic fantasy that offers a dark reflection on personal atonement in the shadow of Kenya’s violent past. Imagine waking up one day in a barren wasteland. Amnesia leaves you clueless as to your whereabouts, your identity, and how you arrived. A small group of strangers welcomes you to a nearby oasis resort, and they reveal to you the nature of this new reality. You are dead. And this is the afterlife. This is what happens to Kaleche (Nyokabi Gethaiga) in the enigmatic opening sequence of Kati Kati, writer-director Mbithi Masya's poetic first feature film.
As word spreads that there is a serial killer at large who continues to commit murder, an off-duty police officer must return an elderly witness who lives in a remote part of Uganda back to town. Along the way, the policeman gives a ride to an injured man. On the way to the city, the passenger tells the policeman the events that led him to end up injured in the middle of the road. But as we travel with these mysterious characters in the car, director Loukman Ali shows us that the stories they tell are only fragmentary and partial versions of the events that took place, and that perhaps there are truths buried beneath each of their words.
Jo, a witty 9-year old terminally ill girl is taken back to her rural village to live out the rest of her short life. Her only comfort during these dull times are her dreams of being a superhero, which prove to be something her rebellious teenage sister Mwix, overprotective mother Kathryn and the entire village of Maweni think they can fulfill.
When Kev, a super talented footballer's dream come crushing down, he is left with no choice but to join the criminal world. In the process of trying to win the battle, he loses the war.
In the distant future, a lone scientist makes a breakthrough discovery, called EONII, that may save the Nation and the Continent. Forces in the shadows begin to surface. Lies, Betrayal, Politics, and War, all to decide one thing, who should control the power of the EONII?
The stakes escalate in a longstanding conflict between Indigenous pastoralists and white landowners in Laikipia, Kenya, as unresolved historical injustices and the impact of climate change come to the forefront.
For a decade Kenya has been targeted by terrorist attacks of the Al-Shabaab. An atmosphere of anxiety and mistrust between Muslims and Christians is growing. Until in December 2015, Muslim bus passengers showed that solidarity can prevail.
Bahasha is the story of Kitasa, an elected public official who betrays his family, friends and community when he takes an easy bribe. He learns the hard way and must now find the road to redemption.
Apostles of Cinema follows Frank, DJ Black, and Rehema — three devoted film workers in Tanzania — as they reintroduce a classic piece of the country’s film history to their audiences of working class cinephiles. We join them, alongside Maangamizi: The Ancient One (2001), on a journey through the labyrinth of informal libraries, studios, and cinemas that exist to keep film and film culture alive. A testament to the profound cultural value of film when made truly accessible.
Nawi is a Kenyan film that explores the intricate themes of love, identity, and cultural heritage, set against the vibrant backdrop of modern-day Kenya. The narrative centers on a young woman who is caught between the traditions of her upbringing and the pressures of contemporary life. As she confronts the weight of familial expectations and the pull of her own dreams, she embarks on a transformative journey of self-discovery.
In this gripping and carefully developed drama from editor–turned–writer-director Angela Wanjiku Wamai, a teacher newly released from prison renegotiates the confines of the physical world while forced to face his nightmare in the flesh.
Eleven-year-old Aisha wants to fish for a living, but her mother thinks that fishing should be left to men. Aisha’s life transforms when fisherman Hassan decides to teach her how to fish.
Sincerely Daisy is a 2020 Kenyan coming-of-age romantic comedy film produced and directed by popular actor Nick Mutuma. The film stars Ella Maina, Brian Abejah, Sam Psenjen and Mbeki Mwalimu in the lead roles. The film was released in Netflix on 9 October 2020 and became the first ever Kenyan feature film to be released via Netflix.
In Old Moshi, Tanzania, a head is missing : the skull of Chief Meli, who fought the German colonial occupation of his territory and was executed in response to his resistance in 1900. This animated film, based on archival sources and oral accounts provided by Chief Meli's grandson, sheds light on the racist roots of physical anthropology and ethnological museums.
To save their real estate agency, an ambitious businesswoman and her entitled boss must convince an investor they're married -- despite hating each other.
In a land where the birth of twins is taboo, a king and queen come into conflict with the gods and each other when they have twins of their own.
A university student looks for a way to make quick and easy money and finds out that its not as easy as he imagined.
Since 2008, albinos in Tanzania have become human targets. Witch doctors offer huge sums of cash for their body parts to be used in magic potions. From 2008 to 2010, more than 200 witch-doctor inspired murders occurred. As a local saying goes: “Albinos do not die, they just disappear.” This is the story of Alias, an albino boy on the run. After his father’s murder, his mother sends him to the city. His uncle Kosmos, a truck driver, takes care of him. Alias learns fast in the city, selling sunglasses, DVDs and cellphones, it will not take long before the boy experiences at first hand the difficulties of life and of being different.
Shooting on 16mm film in Mozambique, director Ico Costa explores the textures of human behaviour as he follows young men who wonder what lies beyond their immediate surroundings. In the fragments of conversations captured in the Maputo market, a recording studio and on coconut trees, we find daily routines and tedium lead to chit-chat on desire, money and hope. In the interplay between performance and document, poetry emerges from fleeting everyday moments.
