International Partnerships


AFF contributes to many cross-cultural projects and has become a resource for programmers worldwide. The AFF Network reflects this unique perspective on the film industry. AFF has been to Burkina Faso to scout FESPACO since 1993. In the mid-1990s the Bob Marley Foundation hosted the African Film Festival at the Bob Marley Museum in Kingston, Jamaica. In 1996, AFF curated the film program of Africa: Art of a Continent, at the Solomon R. Guggenheim Museum, and, in 1997, went on to co-curate the African and African Diaspora Film Series for the 2nd Johannesburg Biennale. AFF has partnered with the Celebration of African Heritage to co-curate a pan-African film festival in Brazil as well as Africala in Mexico. As our reputation for quality programming grows, so does the community of individuals and organizations committed to cultural understanding. In 2007 AFF met with partners in Barbados, Trinidad & Tobago, Sudan, Brazil, St. Kitts and Nevins, as well as organizers from North Africa and the Middle East. In 2010, AFF curated a program of shorts in St. Petersburg, Russia, in collaboration with Message to Man Festival and with Imagem dos Povos in Belo Horizonte, Brazil. In September 2011, AFF forged an ongoing partnership with Lights, Camera, AFRICA!!! Film Festival in Lagos, Nigeria. This festival shares the best and most exciting of African cinema, to stimulate discourse on issues rooted in the African experience.


Current and Recent Partnerships

Docubox  Nairobi, Kenya

DOCUBOX exists to enable talented, driven, focused and accountable East African artists to produce unique films that unearth new realities and cross trans-national boundaries. Through training, development and production grants, screenings for people who love documentary films, they promote East African filmmakers and share their unique stories with the world through creative documentary.

Docubox, Nairobi, Kenya. 2015


Lights, Camera, AFRICA!!! Film Festival – Lagos, Nigeria

Lights, Camera, Africa!!! film festival showcases the brightest ideas in African cinema. It promotes filmmaking talent from within Africa—especially works from Nigerian filmmakers.

Lights, Camera, Africa!!! Film Festival, Lagos, Nigeria. 2011
Lights, Camera, Africa!!! Film Festival, Lagos, Nigeria. 2011


Message to Man Festival – St. Petersburg, Russia

Message to Man Festival was founded to emphasize the important role of non-feature films in the cultural life of Russia and to allow national documentary filmmakers to become more familiar with the world of international cinema.


Imagem dos Povos – Belo Horizonte, Brazil

Imagem dos Povos is an iternational festival focused on cultural diversity and strengthening production networks and audiovisual distribution.


Africala – Mexico

AFRICALA (Africa in Latin America) was born as the first African film festival in Latin America in Mexico City in 2007, with the intention of promoting contemporary cinema of the African continent in all Spanish-speaking countries. While Latin America has a large African descent and a large diaspora, little is known of the continent’s culture and even less about her films. Like Latin America, the African continent has the need to break the stereotypes that were created throughout history and cinema is a great tool to achieve it.


Past Partnerships

Semana Boabab – Mexico City, Mexico

The Baobab Week is a festival of African culture that seeks to celebrate our mother land Africa through different artistic expressions and contemporary photojournalism, painting, music, cinema, food tasting, among other activities, to break with the false stereotypes of Africa and its people.


Semana Boabab (Boabab Week), Mexico City, Mexico. 2008
Semana Boabab (Boabab Week), Mexico City, Mexico. 2008


Bob Marley Foundation (now the Rita Marley Foundation) – Kingston, Jamaica

The aim of the Bob Marley Foundation in Jamaica is to support local communities where the need for charitable assistance is greatest. The Foundation, founded in 1986, has contributed financial, cultural and other resources to various communities and organizations in Jamaica. Our intent and motivation is to fulfill the vision of the Honorable Robert Nesta Marley O.M. while reaching those in need through love and brotherhood.


Lights on Africa: A Program of African Film – New York, USA

Supplementing the exhibitions Africa: The Art of a Continent and In/sight: African Photographers, 1940 to the Present, the series focused on contemporary African issues and their treatment in the medium of film. Lights on Africa: A Program of African Film was organized by Manon Slome of the Guggenheim Museum in consultation with Mahen Bonetti of African Film Festival Inc. and with the support of Manthia Diawara, Chairman of the Department of African Studies, New York University.


African Diaspora Film Series – 2nd Johannesburg Biennale – Johannesburg, South Africa

After the years of isolation as a consequence of the apartheid system, the Biennale of Johannesburg was meant to restore the dialog between South Africa and the international art scene.


Ziara – Beyond the Threshold [Ziara, más allá del umbral]


Director: Sonia Gamez
Country: Spain
Year: 2013
Running Time: 54 min.
Language: Amazigh and Spanish with English subtitles


This film intends to explore the phenomenon of maraboutism in the Rif, an area in the north of Morocco. This practice of venerating saints, which was historically common throughout the whole of North Africa, has great cultural importance even today. The shrines or marabouts are the object of many popular religious beliefs. The Rif boasts a great diversity of cults and shows how the ancient ancestral beliefs of the Amazigh people coexist alongside Sufism, the mystical branch of Islam.


Sonia Gamez

Biography: Sonia Gamez studied history in Spain and began her career as a researcher at the Institute of Mediterranean Culture. She is currently a lecturer in art history and history at the UNED. Her present work focuses on the Amazigh cultural heritage. After studying Maraboutism in northern Morocco, she made her first documentary film on the topic of this popular religious tradition in the Rif. Ziara is the culmination of her research and was screened at several film festivals in Spain as well as Austria. At present, she is at work on a new project on Sufism in Morocco, specifically about a controversial brotherhood known as the Aissawa.

Films Shown in AFF, Inc. Programs:
Ziara – Beyond the Threshold [Ziara, más allá del umbral] (2015).

Ziara – Beyond the Threshold [Ziara, más allá del umbral] (2013).

The Summer of Gods

Director: Eliciana Nascimento
Country: Brazil
Year: 2014
Running Time: 20 min.
Language: Portuguese with English subtitles


The Summer of Gods is a short film about a young girl named Lili who unites with her Afro-Brazilian religious ancestry on a summer visit to their ancestral village in rural Brazil. During her stay, she encounters Orishas (African gods) who help her find peace with a gift that has previously vexed her. Lili’s Grandma upholds Orisha traditions as an admired local priestess, but to ensure these traditions carry on after she passes, the gifted Lili is led on a mystical adventure of initiation through a nearby forest.

Eliciana Nascimento

Biography: Eliciana Nascimento is an award-winning film director and producer. She holds an MFA in Cinema from San Francisco State University. Her short film The Summer of Gods premiered at Cannes Film Festival in 2014 and won the Spirit Award and Best Cinematography at the Reel Sisters of the Diaspora Film Festival, as well as Special Recognition for Directing Narrative Award at the Black Star Film Festival. With this film, she reveals the beauty, culture and mythology of her people and hopes that it will encourage the preservation of Orishas traditions by inspiring viewers to honor them and learn more.

Films Shown in AFF, Inc. Programs:
The Summer of Gods (2015).

The Summer of Gods (2014).


Movies? Check! Live Music? Check! Free? Check! The Summer Series is back and we at AFF cannot wait to welcome you and yours to various NYC venues, as we celebrate the summertime with wonderful programs like “CINEMA UNDER THE STARS” set throughout various NYC Parks, and our “FAMILY DAY CELEBRATION” on the beautiful Governor’s Island.


MIRROR, MIRROR ON THE SCREEN: A Story about Africa in Cinema

The car glided to a stop. At least, that was how Dikeogu felt. Entering the lush “gated community,” squinting at what seemed like set-after-set of a very lavish budget Hollywood production and a reel of disorienting scenarios playing in his head, seemed like an out-of-body experience. An ornate fountain, at the center of the drive-way, adds a soothing, ethereal soundtrack, from the spouts and tinkles of water around an angel, with an enchanting poise and exquisite wings spread like a ballerina. Three gentle taps on the passenger-side window rouse him out of his reverie. He had not noticed Kathy get out of the car and walk around to him. Through the glass, he reads her lips which were saying, ‘We are here . . . !’ Stifling his embarrassment with an uneasy smile, he opens the door, nearly stumbling out.

Dikeogu, “from Africa”, had come on this visit at the insistence of Kathy and her grandparents, Grand Pa Sam, or GPS, as she affectionately refers to him, and Grand Dame Penelope, or GDP, her grandmother’s nickname. He had wondered about the “Grand Dame” moniker but Kathy laughed it off, saying that people think she has “an aristocratic bearing.” Kathy let out, too, that as a child, she was called TLC which, variously, stood for ‘The Loving Child’, ‘Tender Loving Child’, or, after her given name, ‘The Loving Catherine’. In her in late teens, however, she “opted for Kathy, as a preamble to a needful declaration of independence.” Her earnestness made Dikeogu giggle. According to her, both grandparents, retired physicians, “met during their Peace Corps years, fell in love with Africa and each other or, vice versa.” She has never been sure which love came first but it helped, though, that both share a passion for “Africa movies.”

GPS had been deliberately vague about this invitation and Dikeogu accepted it with a foreboding sense of adventure. As they walk up to the front-door, Kathy flashes him a reassuring smile. ‘Now, remember, just be your self.’ She pauses, looks him over gently, taps on the door and, without waiting, opens it. Inside, the delicate fragrance of fresh flowers fills the room and in a corner, next to a large-screen TV, a genial sixty-something-year-old man rises to greet them, from a handcrafted armchair, so meticulously accented with African motifs that it looks like a throne. He hugs Kathy who gently kisses him on both cheeks. They exchange brief affectionate looks, as he ruffles her hair tenderly, before stepping up.

‘Welcome…,’ he said, extending his hand.

‘Thank you…,’ Dikeogu replied, slightly flinching at the firm shake.

Kathy looks on, wrestling feebly with relief and apprehension. Silence. Leaning, and feigning confidentiality, GPS whispered into Kathy’s ears, before leading her out of earshot, and gently closing the door behind them. They exchange curious looks, and he nods beyond the door.

‘What about him,’ Kathy asks.

‘You’re not pregnant or anything…?’

‘Grand Pa, stop!’

‘Just asking’

‘Again, we are classmates. Law students with a passion for social justice… Nothing more!’

GPS thinks that over for a moment, then, tilting his head in an awkward gesture of penitence, smiles and nods.

‘Got it’

‘Don’t forget,’ she smirks, mischievously. ‘Now, where’s Grand Ma?’

‘Stepped out…’

‘But she knew we were coming’

‘Something came up. Well, you know her… Never would pass up a cause for Africa’

‘Hmmm…,’ slightly rolling her eyes. ‘Malaria, Meningitis, Malnutrition…’

GPS’ forefinger across his lips, promptly, shut her up.

Alone, Dikeogu did a quick but scrupulous survey of the living room. He noticed that GPS had been reading a tourist magazine, with a special edition on Africa. Around the room, contemporary African art, sculpture, painting, masques, conceptual pieces, jockeyed for space with an eclectic collection of curious, clay and wooden objets d’art that the aura felt like a cross between a museum and a hip ‘post-colonial’ gallery.

It was early evening by the time GPS had finished regaling them with reminiscences “about life in the bush”, including advice, before his departure for the Peace Corps service, from “well-meaning people” some of which, even then, he thought were crazy. Others, “more circumspect”, advised against nationalists, communists, carnivorous cockroaches, reptiles and hepatitis. His mother only wished he would bring home an African princess. Neither the fears nor romantic wishes came true. Even then, his mother never stopped calling GDP “her African princess”.

As they drive out, Kathy asks, ‘So, where are we going?’

‘To Africa’, GPS replies, calmly.


‘Just wait and see’

They pull up at an exclusive country club where the valet, dressed in faux Royal uniform, ushers them into the lobby, with affected courtesy. Very briefly, Dikeogu considers affecting an RP British accent, which he heard that Americans were deferential to, but settles for going with the flow, as if used to the atmosphere and lifestyle, since birth. Golden-toned background music, flowers, props, refreshments, and such opulent attention to detail! He saunters over to the bar and emerging with a full wine glass in hand, joins Kathy who is looking at a big film foster, spotlighted near a theater entrance.

Dikeogu glances around surreptitiously, before pinching himself. GPS is chatting so casually with people Dikeogu had only seen on TV, in newspapers and magazines. Kathy and Dikeogu exchange meaningful glances as it dawns on them, that they are at an exclusive preview soiree. It dawns on him, even more, that Kathy, ever so modest on campus, comes from a background of the type referred to as “old money”. He takes a closer look at the poster and winces. In it, a latex-gloved hand leads a forlorn African child away from a background of absolute havoc. Kathy shuffles her feet, uncomfortably, as they read the tag line: Somewhere in the depths of Africa, a relief mission goes wrong, awfully wrong.

After the screening, they had dinner in a private booth, and, as they drove away, GPS let out a chuckle.

‘What’s so funny, Grand Pa?’

‘Things, here and there, they got wrong in the film’

‘And, that’s funny?’

‘I was a consultant for the film’


‘Hey, I know Africa’

‘Don’t be too sure’, Dikeogu cuts in, to the relief of Kathy who falls silent, there after.

‘I have lived over there, and know Africa’

‘Which Africa, or, rather, whose Africa do you know so well?’

‘I am nearly seventy and was there, perhaps, before your dad was born’

‘Fair enough’

‘So, what is the problem?’

‘These types of films… Their exotic and abject Africa’

‘But it was filmed on location…’

‘And marked with stamps of authenticity’, Dikeogu interrupts, sarcastically.

‘I wouldn’t quite put it that way’.

‘Let me put it this way, then… African cinema will have its say, some day’

‘No doubt… The correct quote, though, is: “History will one day have its say”’

‘That, too. Knew Lumumba…?

‘That was from a farewell letter to his wife, Pauline’

‘Know who killed him…?

GPS stares ahead, without further words. Fleeting lights and shadows of the road complicate discerning his thoughts or emotions. They drive in silence for what seems like eternity. Dikeogu digs deeper into his seat convinced he would be tossed out, any moment. As if on a cue, Kathy’s nervous cough breaks the silence. GPS clears his throat and, without any hint of bitterness, says, nodding to Dikeogu, ‘OK… I see your point’.

As they headed back to campus, later, Dikeogu made a mental note to include a copy of Binyavanga Wainaina’s How to Write about Africa in his thank-you card to GPS and GDP.

That night, in bed, GPS tossed and turned so much that GDP, ordinarily a gentle soul, was forced to rouse him. Awakened, he turned to her, with puzzlement in his eyes.

‘Who are you?’

‘Funny…,’ raising her brows. ‘Very funny’

‘Hey…,’ passing a hand over his eyes. ‘What’s your name?’

‘Princess… The African Princess… Who else?’

‘That rings a bell…’

‘How loud?’

GDP watches him, closely. For a while, he does not move. Then, he tweaked his nose, sighs, and tries, unsuccessfully, to disguise his embarrassment.

‘Oh, forget it’

‘What was that all about, then…?,’ lifting her hand to touch his cheek, gently. After a while, he clears his throat but says nothing. He appears quite rattled. She notices his hands begin to clench, then taps him on a shoulder. He shrugs and, following a deep breath, speaks…

‘As dreams go, we were in New York, at the New York African Film Festival, and had just watched this documentary, by a young African woman, titled: Please, Wait Here.’

He stops, abruptly, staring at the ceiling. GDP waits expectantly, becoming increasingly impatient at the suspense. Instinctively, she looks at the ceiling, studying it as if for clues, before taking his hand.

‘Are you OK…?’

‘I can’t talk about this easily… The dehumanizing experiences of Africans at airport immigration posts, around the world’

‘Security, contrabands, human trafficking, perhaps…?’

‘Think again’.

‘Hmmm…,’ GDP replied, pensively rubbing her lower chins.

‘In one scene, a pregnant African professor, invited as the keynote speaker of a prestigious scholarly conference, recounts how she was subjected to invasive and unnecessary cavity searches’

‘No way…!’

Pulling GDP closer, GPS tells of how the director’s wit and engaging demeanor, during the question-and-answer session, reminds him of Lupita Nyong’o accepting the Oscar for her work in 12 Years a Slave. Pooling resources for the documentary, without any government support, even had, according to her, “the hooks and twists of a situation comedy”. For example, some government officials, “the sympathetic ones, cited priorities and offered only moral support”. Other responses ranged from hostility, indifference, to concerns about how the film will affect “international relations”. The latter, she said, drawing laughter from the audience, was euphemism for foreign aid, largely, from the West. Even then, she turned down “Trojan gifts from certain NGOs, advocacy groups, donor agencies, to maintain artistic integrity and creative autonomy”. Amidst the spirited exchanges between the director and audience, a lock turned in the heart of an elderly, Black woman. Her arthritic conditions were perceptible as she walked to the microphone, set near the podium, for comments and questions. Very calmly, she waited her turn and, between emotional gulps, pledged to finance the director’s next project, whatever it may be, and bankroll the festival’s next edition, without strings. The eclectic audience was so stunned one could have heard a pin drop. Then, the applause roared…

‘And, that was when you woke me up.’

Their eyes meet and linger. Hers are moist with tears and, soon after, his.

Sunday, July 12th: NY Premiere of THE AMAZING NINA SIMONE with Maysles Cinema and REEL Harlem



amazing nina simone

AFF’s Summer Series “Cinema Under the Stars” moves to Harlem’s Jackie Robinson Park on Sunday, July 12th at 6:30 pm as we partner with Maysles Cinema and REEL Harlem: The Historic Harlem Parks Film Festival to present the New York premiere of The Amazing Nina Simone.  Bring a lawn chair to this outdoor event which is free and open to the public! The evening will also feature a special performance by DJ Reborn showcasing selected songs of Nina Simone.

The Amazing Nina Simone reveals the real Nina Simone through over 50 intimate interviews with those who best knew the artistry and intentions of one of America’s true musical geniuses. The documentary film traces Nina’s roots from her upbringing in segregated North Carolina and follows her journey all the way to the South of France and the place where she finally found freedom.

The film will be introduced by its director, Jeff L. Lieberman, and Nina Simone’s brother, Sam Waymon.

Music performance begins at 6:30 pm and film screening begins at sunset (approximately 8:30 pm).

Location: Jackie Robinson Park, 148th Street & Bradhurst Avenue, Harlem, New York

Rain location: Maysles Cinema at 343 Malcolm X Blvd. (Lenox Blvd) between 127th & 128th streets, New York, NY 10027

About the Performer:

DJ Reborn is a trailblazing international DJ, sound collage artist, hip hop theater musical director and arts educator. She has spent the last two decades utilizing her passion for music and her skills as a DJ to traverse within these worlds and make an impact. Reborn has a myriad of impressive credits to her career including working as the touring DJ for Russell Simmons Def Poetry Jam and opening for The Roots and John Legend. She has also deejayed live on BET and for the live telecast of the NAACP Image Awards as well as the MSNBC telecast of the One Nation Rally at the Lincoln Memorial in Washington D.C. She lives and works bi-coastally between NYC and LA.


Sobukwe: A Great Soul

Director: Mickey Dube
Country: South Africa
Year: 2013
Running Time: 100 min.
Language: English and various South African languages with English subtitles


Sobukwe: A Great Soul celebrates the life of Robert Mangaliso Sobukwe, restoring him to his rightful place as a leading figure in South African history. Despite his pivotal role in the struggle for liberation (and as the founder of the Pan Africanist Congress), there isn’t a single piece of archive of the man who was once one of the most watched, recorded, and popular political prisoners in the world. Even the current South African government has failed to recognize his place in history and the relevance of his message today. Mickey Madoda Dube’s film seeks to fill that gap, standing as a monument to a great man, a global visionary, teacher, political leader, philosopher, and humanist who was well ahead of his time, declaring his commitment to a “non-racial” society in a racist world by asserting that “there is only one race, the human race.”

Mickey Dube

Also Known As: Mickey Madoda Dube

Biography: Mickey Madoda Dube is an international award winning Film, TV and TV Commercials Director/Producer. As a Fulbright Scholar at the notable USC School of Cinematic Arts in Los Angeles, his films include documentaries, TV Drama, Reality shows, music, etc. Sobukwe: A Great Soul won the Amnesty International Documentary Award in 2013 and at SAFTAS 2013 Best Documentary Feature, Best Director Documentary Feature, Best Editor Documentary Feature and Best Factual Educational Entertainment Program.

Films Shown in AFF, Inc. Programs:
Sobukwe: A Great Soul (2015).

Saints, Sinners and Settlers (1999);
A Walk in the Night (2000);
Imagine Afrika (TV Series – 2000);
Sobukwe: A Great Soul (2013);
One Humanity (2014).

Sister Oyo [Soeur Oyo]

Director: Monique Mbeka Phoba
Country: Democratic Republic of the Congo/Belgium
Year: 2014
Running Time: 24 min.
Language: Lingala, Kikongo and French with English subtitles


In the colonial Congo of the 50’s, Godelive, a young Congolese, who was taught traditional customs by Mama Koko, her grandmother, is pulled away from this universe and sent to a Catholic boarding school in Mbanza-Mboma. In this first French speaking school for Congolese schoolgirls, she is being westernized following the wishes of her parents. But the memory of her grandmother prevents it.


Director: Philippe Lacôte
Countries: Ivory Coast
Year: 2014
Running Time: 102 min.
Languages: French with English subtitles


Run finds shelter with fellow dissident Assa (Isaach de Bankolé) after assassinating the Prime Minister of the Ivory Coast. While in hiding, Run’s story is revealed in three separate flashback chapters—his childhood with Tourou, when his dream was to become a rainmaker; his adventures with Gladys, the competitive eater; and his past as a young member of a militia, amid conflict in the Ivory Coast—which together speak volumes about contemporary life in the troubled country. Philippe Lacôte’s feature-film debut is a mesmerizing coming-of-age tale, alternately dreamlike and ultra-realistic.

Philippe Lacôte

Biography: Born in 1971 in Abidjan, Philippe Lacôte grew up next to a movie theater. As he began to study linguistics, he became a radio enthusiast, before he turned to film and started making short films and documentaries. In 2010, he produced Lonesome Solo’s Burn it up Djassa. His first feature is Run, presented in Cannes section Un Certain Regard in 2014.

Films Shown in AFF, Inc. Programs:
Run (2015).

Somnambule (1994);
Affaire Libinski (2001);
Cairo Hours (2002);
Le passeur (2007);
Chroniques de guerre en Côte d’Ivoire (2008);
To Repel Ghosts (2013);
African Metropolis (2013);
Run (2014).


The Road We Travel

Director: Aidan Belizaire
Countries: Uganda/UK
Year: 2014
Running Time: 38 min.
Languages: English and Luganda with English subtitles


After arriving in Uganda without any money, a downtrodden photographer befriends a local taxi driver who offers him a place to stay, forcing him to embrace a culture very different to his own. Through an unlikely friendship, both men realize that despite differences in culture, religion and race, meeting a particular person (either by fate or coincidence) can change your life for the better

Aidan Belizaire

Biography: Aidan Belizaire is a musically trained film director/writer from Manchester, England. He has been working in the UK film and TV industry for 6 years, directing music videos, commercials, short films, TV pilots, and tasters. His debut feature film, The Zombie King has been distributed worldwide. The Road We Travel is his first African film and has screened at the 23rd Pan African Film Festival, Zanzibar International Film Festival.

Films Shown in AFF, Inc. Programs:
The Road We Travel (2015).

The Sleeper Effect (2012);
The Zombie King (2013);
Late Bloomer (2014);
The Road We Travel (2015).

The Prophecy

Director: Marcia Juzga
Countries: Senegal
Year: 2015
Running Time: 20 min.
Languages: French and Wolof with English subtitles


The Prophecy is a photographic project whose objective is to raise the awareness of the Senegalese population and the rest of the world about the environmental issues Senegal is facing by combining art, culture and tradition. The series of surreal photographs details the most representative sites of Senegal’s environmental destruction. The essence of each site is characterized by a Jinn – a supernatural genie omnipresent in African cultures – merging with its environment.

Marcia Juzga

Biography: Marcia Juzga, is a director, producer and audiovisual artist who graduated in Film and photography from the Unitec University Bogotá, Colombia and took courses in cinematography and documentary in La Habana, Cuba. She was influenced by her journeys around the world, as well as her experience of years of working as an executive producer. Marcia Juzga currently lives in Dakar, working and developing projects with the photographer Fabrice Monteiro.

Films Shown in AFF, Inc. Programs:
The Prophecy (2015, 2016).

The Prophecy (2015).

Jide Akinleminu

Also Known As: Jide Tom Akinleminu

Biography: Jide Akinleminu grew up in the town of Ikorodu, Nigeria as the son of a Nigerian farmer and a Danish librarian. His family relocated in 1991 to Denmark. He attended the acclaimed Fatamorgana – Danish School of Art Photography, completed several documentary projects and exhibitions. His films have been screened at major film festivals such as Locarno, Oberhausen, Berlinale, Hofer Filmtage, FID Marseilles and his short film Kokon was awarded with the German Shortfilm Prize in 2009. Portrait of a Lone Farmer was his first feature length film as a director and won the Cipputi Award at the Torino Film Festival in 2013 and in 2014 the African Movie Academy Award in Nigeria and also won “Best Documentary” in the Duisburger Filmwoche, Germany.

Films Shown in AFF, Inc. Programs:
Portrait of a Lone Farmer (2015).

Portrait of a Lone Farmer (2013).

Portrait of a Lone Farmer

Director: Jide Akinleminu
Countries: Nigeria/Denmark/Germany
Year: 2013
Running Time: 73 min.
Languages: Yoruba, English and Danish with English subtitles


Portrait of a Lone Farmer is a feature documentary about a Danish-Nigerian family torn apart by geography. When the filmmaker Jide, for the first time in five years, travels to Nigeria to re-connect with his father, we see through his camera the unfolding of a story about family, love, and legacy. It is a quiet and stunning portrait of a broken family trying to heal, one in which the drama occurs in their mutual understanding.

Plot for Peace

Director: Carlos Agullo and Mandy Jacobson
Countries: South Africa
Year: 2013
Running Time: 84 min.
Languages: English, French, Portuguese, Afrikaans and Spanish with English subtitles


In the new documentary thriller, Plot For Peace, heads of state, generals, diplomats, master spies and anti-apartheid fighters reveal how Africa’s front line states helped end apartheid. An improbable key to Mandela’s prison cell was a mysterious French businessman, dubbed “Monsieur Jacques” whose real name was Jean-Yves Ollivier. His trade secret was trust. For nearly 25 years, his story has been secret. Now, it is disclosed for the first time. Plot For Peace is the remarkable account of Ollivier’s masterful citizen diplomacy that contributed significantly to one of the great political shifts of the 20th century.