Pelourinho, They Don’t Really Care About Us

Me Broni Ba is a lyrical portrait of hair salons in Kumasi, Ghana. The tangled legacy of European colonialism in Africa is evoked through images of women practicing hair braiding on discarded white baby dolls from the West. The film unfolds through a series of vignettes, set against a child's story of migrating from Ghana to the United States. The film uncovers the meaning behind the Akan term of endearment, me broni ba, which means “my white baby.”

A companion piece to Pelourinho: They Don’t Really Care About Us (NYFF57), King of Sanwi continues Akosua Adoma Owusu’s exploration of Michael Jackson as a global pop icon. Here, Michael’s long affinity with the African continent—from the Jackson 5’s arrival in Senegal in 1974 to Michael’s coronation as an Ivorian king in 1992—is captured in vibrant, fuzzy archival video, made visceral by Owusu’s funky audiovisual collage and richly material direct animation effects.

Bus Nut rearticulates the 1955 Montgomery Bus Boycott, a political and social protest against U.S. racial segregation on the public transit system of Montgomery, Alabama, and its relationship to an educational video on school-bus safety. Actress MaameYaa Boafo restages a vintage video while reciting press-conference audio of Rosa Parks on a re-created set in New York City.

Intermittent Delight juxtaposes close-ups of batik textiles, fashion and design from the 1950s and 1960s, images of men weaving and women sewing in Ghana, and fragments of a Westinghouse 1960s commercial- aimed to instruct women on the how-to of refrigerator decoration.

16th July 1969: America prepares to launch Apollo 11. Thousands of kilometers away, a ragtag group of Zambian exiles is trying to beat America to the Moon.

Beautiful Chrissy plays with Miss Mary Mack.

This short by Akosua Adoma Owusu offers a spellbinding, semi-autobiographical interpretation of a traditional Ghanaian folktale in which the contemporary collides with the mythological in both content and form.

Part documentary, part fiction, Ajube Kete is positioned as a day in the life of a West African girl. Filmed in the village of Kumasi, Ghana the story follows a young girl as she works on chores throughout the day. The girl attempts to complete her chores amidst ridicule by older voices heard off-screen.

A unique exploration of fashion and hairstyles in the 1970s using found footage as the subject matter.

White Afro employs an archival instructional video on how to offer curly perms or body waving services to their white clientele, ostensibly for financial gain.

This epistolary short film invites us into the unsettling life of a young Ghanaian man struggling to reconcile his love for his mother with his love for same-sex desire. Berlin International Film Festival 2016: Nominated Golden Berlin Bear for Best Short Film and Teddy Best Short Film.

A portrait of a dilapidated Olympic-sized pool in Accra, Ghana.

Mahogany Too takes the 1975 cult classic Mahogany – a fashion-infused romantic drama – as its base. The film examines and revives Diana Ross's iconic portrayal of Tracy Chambers. Analogue film provides vintage tones, which emphasises the essence of the character, re-creating Tracy’s qualities through fashion, modelling, and styling.

Michael Jordan learns how to swim.

This film follows Kamara, a Nigerian woman, on her journey to self-realization. When Tracy, an artist, finally emerges from her studio one afternoon, Kamara, her son's nanny, is inspired to become Tracy's muse