Consider this article as both a call for films and a call to action!
I’ve long viewed Akoroko as more than just a media outlet. The platform is, in essence, a lab – a space for experimentation within the ever-evolving landscape of African cinema. This perspective aligns closely with Lesley Lokko’s concept of Africa as a “Laboratory of the Future,” a notion that has been integral to my approach.
My latest “experiment” is an informal, open-ended screening series that stems from a unique position I’ve found myself in over the years.
As an African/diaspora film journalist with a platform like Akoroko, and previously as founder and editor of Shadow and Act, and a staff writer at IndieWire, I’ve received countless inquiries from filmmakers and producers over the years, including several in 2024 alone, seeking guidance on market placement and feedback on their work.
This informal role as a consultant has provided me with a privileged view of what I’d refer to as the raw, sometimes overlooked talent emerging from African experiences worldwide.
[It’s important to note that this is strictly from an international marketplace perspective.]
In the African cinema context specifically, they might be creating work that’s authentic but may not align with conventional expectations of “festival-ready” films. But there’s an observable creativity and resourcefulness in overcoming limited resources that can sometimes result in compelling stories.
I must confess that even I am guilty of instinctually passing them over at times. Although, one experience that stands out is my first encounter with C.J. Obasi about 10 years ago. I received a screener for his debut feature “Ojuju,” a film made long before last year’s “Mami Wata” brought him international acclaim.
I was immediately impressed with his determined, *no-budget* movie. What I saw was a work of resourcefulness that demonstrated not just talent, but an appreciation for cinema as an art form. It embodied Arthur Ashe’s wisdom, and a reflection of the Akoroko ethos, “Start where you are. Use what you have. Do what you can.”
I selected the film as part of a program I co-curated in New York City the same year!
This experience, among others, has led me to this latest Akoroko experiment: a curated screening series.
The Experiment
At its core, this is a simple, informal call: “Send me your films.” Shorts and features. There are no deadlines (at least not yet), and no concrete plans beyond this initial step.
As a true experiment, what happens in step 2 – if there even is a step 2 – will entirely depend on what I discover in step 1.
Read on…
This open call is guided by a conceptual framework inspired by a triangle of thought-provoking perspectives on African creativity. If any or all of them speak to you, you’re probably a good candidate for the experiment.
The Triangle – Guiding Principles
Base of the Triangle (Foundation):
- Haile Gerima on the need for African filmmakers to “reflect on a continent that has lost its mind” (History): “Africans have lost their minds… They have lost their historical context. They do not understand the resistance history of our own people; even when they were peasants and ordinary village people, they made history… I would say my struggle to harmonize my form in the face of a foreign rhythm and structure is imperfect, and I would be stupid to try to perfect it within those confines. So perfection for me is when I’m imperfect within conventions, because it means that I’m getting closer to where I should be.”
- Med Hondo on confronting Western dominance (Bridge): “Throughout the world when people use the term cinema, they all refer more or less consciously to a single cinema, which for more than half a century has been created, produced, industrialized, programmed and then shown on the world’s screens: Euro-American cinema. This cinema has gradually imposed itself on a set of dominated peoples […] The images this cinema offers systematically exclude the African and the Arab. It would be dangerous (and impossible) for us to reject this cinema simply as alien — the damage is done. We must get to know it, the better to analyze it.”
- Lesley Lokko’s “Laboratory of the Future” (Future): “For the first time ever, the spotlight has fallen on Africa and the African Diaspora, that fluid and enmeshed culture of people of African descent that now straddles the globe. What do we wish to say? How will what we say change anything? And, perhaps most importantly of all, how will what we say interact with and infuse what ‘others’ say, so that the exhibition is not a single story, but multiple stories that reflect the vexing, gorgeous kaleidoscope of ideas, contexts, aspirations, and meanings that is every voice responding to the issues of its time?”
Middle Level (Practical Action):
- Arthur Ashe: “Start where you are. Use what you have. Do what you can.”
Apex (Aspiration):
- Djibril Diop Mambéty: “It is good for the future of cinema that Africa exists.”
This conceptual framework guides my approach to curating a series that prioritizes resourcefulness, ingenuity, and a passion for the art form over polish and perfection.
Key Criteria for Selection
Beyond the conceptual framework, the following serve as guidelines rather than strict requirements. Films don’t need to meet all of these criteria, but I’m particularly interested in works that combine multiple criteria.
- Films that exemplify Ashe’s philosophy, making the most of available resources.
- Works that challenge constraints of Western expectations (addressing Hondo’s concerns), and are concerned with being imperfect within conventions (per Gerima).
- Films that engage (directly, indirectly, figuratively, metaphorically, etc.) with Africa’s long and complex history and cultural heritage (echoing Gerima’s call). Note: They don’t need to be historical films.
- Works that engage with a global cinematic conversation addressing the spirit of the times (aligning with Lokko’s vision).
- Films that demonstrate how African cinema can shape the future of global filmmaking (embodying Mambéty’s assertion).
Additional Guidelines:
- There is no time restriction on when the films were made. The year of production is not a factor in my selection process.
- Both short films and feature films are accepted.
- Films must have English subtitles.
- Ideally, I’m looking for films with limited film festival exposure, though some festival play is acceptable.
- I welcome submissions from African filmmakers who are currently based in Africa and creating work within the African continent.
- There are no submission fees.
- Filmmakers may submit more than one film.
The Vision
Ultimately, I want to meet African filmmakers where they generally are, who embody the spirit of “just do it” – those who are driven to tell their stories and express their vision, no matter the obstacles.
The key is not necessarily about breaking new ground as much as it is about the sheer determination to create and the pure love for the medium of film.
Challenges and Considerations
Implementing this certainly will not be without challenges.
Additionally, this initiative is not about reinventing the wheel. As I sort through past submissions and hopefully welcome new ones, I’m excited about the longer-term possibilities.
This initiative is just one experiment in Akoroko’s larger lab which is designed to help nurture an ecosystem where advancement, evolution, and creativity thrive despite constraints, and where a future for African cinema is being shaped in real time.
And even if I don’t receive films that match my criteria, I hope that it will inspire emerging talents who might be discouraged and forgo filmmaking altogether, or focus solely on entering more traditional, established networks. Perhaps this initiative will encourage you to embrace Arthur Ashe’s ethos.
By doing so, you might create a lane where there may not have been one before.
Next Steps
And finally, a note to those of you who’ve made it this far:If you’ve read this entire call and you have a film that meets the criteria and observes the triangle framework we’ve discussed, congratulations! You are exactly what I’m looking for.
Your patience, attention to detail, and alignment with the vision make you an ideal participant in this experiment!
To participate: Send a link to your films (with password if necessary) to [email protected]
Send any questions, etc. to that address as well.
To reiterate: At its core, this is a simple, informal call: “Send me your films.” Shorts and features. There are no deadlines (at least not yet), and no concrete plans beyond this initial step. As a true experiment, what happens in step 2 – if there even is a step 2 – will entirely depend on what I discover in step 1.
The criteria above serve more as guidelines rather than strict requirements.
Remember, there’s no deadline – this call remains open until further notice!
Feel free to forward far and wide!