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A young biracial woman raised in France travels to Burkina Faso in search of the mother she hasn’t seen in many years. Meanwhile, in Paris, an émigré from Burkina Faso who makes her living as a cleaner teaches the Dioula language to a white middle-class office worker, in this affecting story of global displacement.
Mina, CEO of a large company, decides to take a second partner. It is a daring and cavalier decision, in an environment where polyandry is viewed with suspicion. But Mina has her reasons.
When Djénéba returns from the city where she has been visiting her cousin, she brings her husband, Konaté, a wonderful gift: a condom. Konaté is furious and refuses to change his habits. Djénéba, well aware of the effects of AIDS, refuses to give in.
After a brutal attack, a young nomad named Sira refuses to surrender to her fate without a fight and instead takes a stand against Islamist terror. A feminist counterpoint to current reporting from the Sahel region.
October 2014. Ouagadougou, the capital of Burkina Faso, is the scene of an unarmed uprising that ousts the dictator in power since 1987 and later staves off an attempted coup. In 2015, the country votes freely for the first time in its history, yet real change remains allusive, especially regarding ongoing economic exploitation by foreign companies. In one year of struggle and resistance, the film follows the daily life of four Burkinabes: a musician and leader of the revolution, a local political candidate, a miner engaged in the labor movement, and an impoverished mother, all sharing hopes that the elections will change the country’s path.
In an early 19th century African village, Wend Kuuni – a young man, lives with his adopted family after his mother was killed as a witch. When Pughneere – his adopted sister – becomes ill, the villagers suspect Wend Kuuni. In order to save Pughneere's life (and his own) he must set out on a journey to find a healer. His quest brings him in contact with people around him and is a journey of self-discovery.
At a war crimes trial in an African country, an idealistic lawyer delves into the past of a man who, accused of committing unspeakable atrocities, is treated as an inhuman monster.
On their ladyfriends' insistence, their "Tchiza", three friends go on an extramarital trip out of Ouagadougou, a fake mission to Abidjan being the perfect alibi. But it all goes downhill when they learn that the plane they should have been in has crashed down. How can they come back home when they're supposed to be dead? Their wives' vengeance will burn the ground they walk on.
A blacksmith falls off his bicycle when he tries to avoid a tortoise which crosses his path. He brings the animal home to his twelve year old son, Rabi, who becomes so fascinated that he forgets his chores at this father's shop. When the angry smith removes the tortoise, Rabi's grandfather, Pusga, helps Rabi find a larger one to consol the boy. Rabi wants to tame the animal and this new obsession leads him to defy parental authority. Pusga gently opens the boy's eyes to the visible and invisible ways of nature. Rabi starts to understand liberty, responsibility and respect for life. In turn he awakens long buried sentiments in the grandfather.
Mariam comes from Fana, a town nearby the Malian capital. At 5, she was sexually abused by a family acquaintance, raped by her cousin at 13 and by her brother-in-law at 16. Today, she deals with her traumas through dance.
Bila, a young peasant, decides to go to Ivory Coast to work and is asked by his parents to accompany Pogbi who is going to meet her fiancé, through an arranged marriage, for the first time. However, Pogbi is in love with Rasmane, a pariah from the smiths' caste, and runs away.
The beautiful Awa, from a poor background, decides to marry for money rather than love and ends up with the much older Karim. While married, she continues to love the much younger Bouba. On the happy occasion of Awa’s birthday, a macabre plan is to be set in motion.
The time it takes to travel through a city, the time for encounters, the time for space and silence, the time for words forgotten and letters sent too late. Travel is always a matter of memory… A documentary by David Pierre Fila.
An inside look at slavery in the country of Burkina Faso, The Courage Of Others follows the journey of a slave (played by Sotigui Kouyaté) being taken across the African desert by his captors.
At the time of the 30th anniversary of the death of Thomas Sankara, the African executive of a multinational mining company established in Africa, Tom - who has Americanized his first name Thomas - finds himself up against the ideal of his youth: each time he passes in front of a mirror, he sees himself with the red beret of the revolutionary leader on his head, and fears that his past will jeopardize his career...
Poverty and misery are rife in Gourga, a village in the Sahel. The inhabitants must choose: stay and await international assistance or leave for more fertile regions in the country.
1968: Justin Ohounou is the Minister of the Interior Department. He is involved in scheming with a corrupt business man. His goal is to eliminate by all means his political enemy Christian Adegbe and all of the Adegbe Tribe.
Twelve-year-old Simon has lost everything to the civil war that has devastated his country. "Black Lion," the ruthless rebel leader of the People's Revolutionary Army, has killed Simon's family and burned down his house. As an expert in weapons and battle strategies, he has formed a rebel group that wants to take power by force with the help of child soldiers. Simon is kidnapped and turned into a child soldier. Traumatized and plagued by nightmares, Simon plans to escape with his comrades while special forces of the African Union prepare an attack on Black Lion.
When Cecile (Sylvie Yameogo), an unwed mother-to-be, refuses to identify the father of her child, she is thrown out of her parents' home and eventually leaves her baby in a field, where another family finds him and takes him home. Michel (Alassane Dakissaga), the head of the household, reluctantly assumes responsibility for the baby after going to the police, the local priest and the traditional village chief, each of whom advises him to seek the counsel of another authority.
Patrick, a young Frenchman in his thirties, has been working for a year in a small village in Burkina Faso. He has a relationship for a few months with a 25-year-old village girl, Kaya, who becomes pregnant. When their daughter Martine is born, Patrick flees with her to Europe. The shock of this loss makes Kaya mute. Seven years later, Patrick returns to the village to maintain the boreholes he had built. He arrives with his daughter Martine. The villagers welcome him with reservation. Patrick learns that Kaya has gone silent. Unfortunately, not being able to stay too long in the village, Patrick entrusts Martine to Kaya for a few hours. Discovering her daughter's poor upbringing, Kaya decides to run away into the night with Martine...
Karim's father is missing and presumed dead, which is why his father's brother has taken over the house and is now his stepfather: this is the custom in Burkina Faso. This would be all right with Karim, except that his new stepfather is a harsh, unloving man, who would just as soon beat him as look at him, and he is the same way with the lad's mother. At the same time, Karim has made friends with Sala, a girl from a wealthy family, starting from when he gave her a baby goat-kid. Their friendship prospers enough so that, when Karim and his mother leave the abusive uncle carrying only what they are wearing on their backs, Sala is able to persuade her family to help them settle safely elsewhere. When Karim's father turns up at last, it is icing on the cake, for they are now able to send the obnoxious man who overshadowed their lives away in disgrace.
In a small Central African village, boyhood friends Djimi and Koni have come of age under a post-colonial government that levies crippling taxes and legally robs local farmers of their meager crops. When impulsive Koni savagely attacks a visiting government official, the resulting massacre forces the two friends on a journey that will transform them from boys into men, from farmers into soldiers and from villagers into revolutionaries. "We fight in one world so we can live in another," declares Koni as the two battle shoulder to shoulder against government troops. But while Koni embraces the politics and carnage of their dangerous new guerilla existence, Djimi longs for the simplicity and grace of the village life they've left behind. As the rebels move closer to victory, the two friends move closer to a clash of their own.
Pushed by his ambitious wife, Katanga kills the king and takes the throne—and then there is no deed too low to keep his grip on power.
In Kinshasa, despite preparations for the construction of Africa's largest power station, the population often finds itself without electricity. The city's inhabitants, struggling for reliable power access, ingeniously utilize makeshift lights as essential means to survive their daily lives and maintain their ability to celebrate.
Scarification on the face and body has existed since the dawn of time in the Bwaba ethnic group, but there is no precise information on the meaning of these scars. I am Bwaba and I was scarified at the age of six. Today I am 43 years old, and I want to know the real meaning of the scarification on my face. I decided to return to the village to find out the reason, the meaning and the origin of these scars.
This documentary offers the reflections of filmmakers shot at FESPACO 1991. Djibril Diop Mambéty, David Achkar, Moussa Sene Absa, Mambaye Coulibaly, Idrissa Ouedraogo, Mansour Sora Wade... express their faith in the eternity of African cinema.
The death of a Burkinabé family’s patriarch and the division of his estate unearths conflict between his heirs and larger questions about inheritance, belonging and the communal customs of West Africa versus Westernized courts.
A beautiful noble Senegalese woman arrives one day in Ouagadougou, the capital of Burkina Faso, and creates chaos through the city with her remarkable seductive powers.
Bintou wants to make sure that her daughter goes to school, but her husband Abel doesn’t think it’s worth it and claims there is only enough money to educate their sons. But Bintou won’t give up and starts her own business to make the extra money. Abel, wary of losing control and scared that Bintou’s newfound financial freedom will lead her to adultery, tries to sabotage her efforts. Bintou tackles sexuality, gender relations, and the fraught relationship between tradition and modernity with joyful satire.
In Burkina Faso, young men look under the earth for gold – and a better future. As a result, 16-year-old Rasmané barely seems like a teenager any more. This mainly observational film follows him into the 100-metre abyss of small-scale mining.
At home in Burkina Faso, filmmaker Simplice Herman Ganou usually documents human relationships. A new project takes him to Winterthur in Switzerland, where he has trouble making contacts. How can he find a story, if no one will talk to him? Will he be able to overcome people’s fear of the unknown?
Koudougou and Poko, a young couple, await the birth of their first child. Unfortunately, the pregnancy does not go well for Poko. First, the village midwife examines her, but to no avail. The village council meet and decide Poko should go into town for treatment.
In Burkina Faso, against the backdrop of advancing jihadist forces, Natie, a troubled teenager, discovers that her grandmother married a man she did not love. In her quest to mend her grandmother’s shattered destiny, Natie hopes to find herself as well. But will she succeed in achieving her own emancipation?
In the capital of Burkina Faso, a band of young people tries to survive and thrive vis-a-vis the thousand and one temptations. Adventures of a band of youngsters, living in a stripped district of Ouagadougou, who seek hopes. The easy way and ingeniousness compensate for the money which often is lacking. Sadness is banished of a resolutely optimistic way of life. Plunders and odd jobs constitute the daily newspaper of this struggle for life. The ones will succeed modestly, the others will fail more or less but a great solidarity of group remains.
Do and Demba wish to become part of the modernisation process, and subsequently leave for the nearby city to make their fortune – a striking allegory of conflict of African rural tradition and western values.
Four women become friends and face challenges while traveling through West Africa.
After the brutal massacre of his family in Haiti, Francis Desrances resettles in the Ivory Coast. Years later Francis, his wife Aissey and 12-year-old daughter Haila await the birth of a son, who to Francis' excitement and Haila's irritation is immediately regarded as the worthy heir to the Desrances name. As the birth looms, civil war erupts in Abidjan and amidst the melee Aissey goes missing. Haila courageously steps forward in ways that challenge her father's notion of what constitutes a rightful heir. Cementing her status as a bold voice in contemporary filmmaking, Apolline Traoré's domestic drama escalates into an intense thriller that mounts a passionate challenge to commonly-held gender roles, whilst also highlighting the human cost of civil strife.
Burkina Faso, West Africa. October 15, 1987. Automatic gunfire breaks the even night’s silence and kills President Thomas Sankara. Had the assassins been sent by his brother in arms, Blaise Compaoré, with whom he had launched the Marxist Burkina Revolution a few years before, and who took control of the country right after the assassination?
In the heart of the city of Ouagadougou, a huge granite crater imprisons men who try their best to get out of it. In the end, only their image will emerge.
Since this morning, nothing goes well for Assitan : She just surprised her husband with a beautiful young woman, Djénè, in his car. Later she realizes that one plastic bag keeps going back to her over and over. Seems like a bad omen...
Boromo, Burkina Faso. When Rasmané finds out that his friend Pierre has died, he sets off for his home town to help his family to transport the body home for his funeral. However, Rasmané hasn't reckoned with the traditional village elders who are strictly against them paying their last respects to a non-believer in the village. For Rasmané it is the beginning of an odyssey through Burkina Faso, as it turns out its not so straightforward to get the body of a man buried who was not baptised, does not have a Muslim first name and was not a member of any of the country's religious communities.
In the first half of the 1990s, Drissa Touré was an auteur fast on the rise, with his first fiction feature, Laada (1991), celebrating its world premiere in a Cannes sidebar, from whence it went around the world, Rotterdam included. Touré's next narrative project, Haramuya (1995), was again welcomed warmly and seen widely. But what happened then? How could an obviously gifted filmmaker from one of world cinema's true hubs, Burkina Faso, not find the means to continue? How did Touré end up riding a motorcycle, doing deliveries and errands? The fact that only a few years after Haramuya's release, Atria, the organisation where Touré deepened his technical knowledge of filmmaking, was closed down as the last francs of support were cancelled suggests that Touré's story is also a symptom of something more structural and grim.
In pre-colonial times a peddler crossing the savanna discovers a child lying unconscious in the bush. When the boy comes to, he is mute and cannot explain who he is. The peddler leaves him with a family in the nearest village. After a search for his parents, the family adopts him, giving him the name Wend Kuuni (God's Gift) and a loving sister with whom he bonds. Wend Kuuni regains his speech only after witnessing a tragic event that prompts him to reveal his own painful history.
In a ficticious “gulf republic” president Koyaga rules. His countless lies and crimes are revealed in the songs of the griot, the West African story-teller. After 21 years of dictatorship his rule finds an end through a coup d’état. Koyaga flees to his native village in order to regain the basis of his power in a magical way employing his mother’s and a village wizard’s help. The film is a satirical look at the rulership of African dictators and the unfortunate mingling of mythology,magic and politics
For decades, the countries of the African Sahel region have been targets of colonialism and exploitation by France and other Western powers. This documentary addresses the popular resistance and new paths of development forged by Burkina Faso, Niger, and Mali after experiencing civil and military uprisings in recent years. The film explores the popular resistance that sustains the revolution in the three Sahel countries and was made after extensive coverage of the ongoing social dynamics and geopolitical disputes.
Yennenga was a legendary princess and a famous warrior, considered to be the mother of the Mossi people of Burkina Faso who lived between the eleventh and fifteenth centuries. The cut-out paper animation is an adaptation of a tale by Bila Kaboré.
Karim lives in Brest and works at the local airport. Every two years he returns to Ouagadougou, to be with his family and friends, do some business. Confront those who never left. Whether they want it or not, all of them carry the madness of a world split into two. The film places itself by their side, at this very breakpoint.
After a young boy dies of meningitis, Napoko Diarrha (Yaméogo) is accused of eating his soul because of a local sexist tradition. While this happens, her husband feels disgraced that Diarrha resists the idea of marrying off their daughter, so he exactes his revenge by spreading a dangerous rumor that would probably get her killed. Because of this, Diarrha's fate falls into the village elder's hands. When she finds out she will go trial, she decides to flee to the nearest town, Ouagadougou, before that can take place. After successfully leaving her village, Diarrha's age causes her health to decline, while her daughter grows up. Some time later, her daughter decides to travel to Ouagadougou, in search of her missing mother. Once they are reconnected, they attempt to escape from their male-dominated society.
Mailo is my village, where I was born in 1975. I'm Christian, my father is Muslim. Today, I no longer recognize my village, which is divided by religious tensions, with a tarred road as a dividing line: Muslims on one side, Christians on the other. One night in 2009, I received a call from a cousin: "Bawa, get up and pray, your village is in danger of exploding!" The two "camps" were about to clash. So, to get people talking about living together, I returned to the village with a project: to build my house on the Muslim side.
After obtaining their Secondary School diplomas, some young people plan to continue their education but are not sure which area to choose.
A film by Burkina Faso filmmakers Drissa Touré and Stephane Mbanga. Made in Dioula / Dyala lanugage which is closely related to Bambara.
Happy are those who, like Sekou, have had a great journey. A storyteller like his parents, he perfects his apprenticeship on a pilmigrage through West Africa before returning home. The journey puts his vocation to the test and examines the need for this ancient art in modern society. Throughout his odyssey, the ancient legend of Sundiata accompanies and guides him.
It's payday and Adama, a factory worker, counts her meager salary trying to reconcile her needs with those of her family back in the village.
Between 1983 and 1987, Ouagadougou, the capital of Burkina Faso and the home city of FESPACO, one of the most important Pan-African film festivals in the world, was the scene of an exciting cinema utopia. With the support of the young president Thomas Sankara, the festival became a symbol of the cultural renaissance of a whole continent. The assassination of Sankara stifled the hopes of millions of young Africans, but the dynamism of FESPACO and African cinema did not stop.
At the heart of Africa, a king is poisoned by one of his subjects. An old seer is called to the rescue. Contrary to their expectations, he suggests that two of the palace’s close aids go to the sacred cave to look for an antidote to cure the King of Mabunos.
Does farmer Ly have dealings with the Chinese, who have recently been tampering with the infrastructure of the village of Sitabaomba, not far from the Malagasy capital of Antananarivo, director Nantenaina Lova asks as bluntly as mischievously. Ly denies it. However, it becomes increasingly clear in the course of “Where Zebus Speak French” that the various development measures, often introduced by foreign initiatives and fuelled by corrupted politicians, also affect him.
Burkina Faso, West Africa. October 15, 1987. Automatic gunfire breaks the evening night’s silence and kills President Thomas Sankara. Had the assassins been sent by his brother in arms, Blaise Compaoré, with whom he had launched the Marxist Burkina Revolution a few years before, and who took control of the country right after the assassination?