Through memories and interviews with my family, 'Yellow Fever' reflects on the effect globalization is having on African women's attitudes towards beauty.
“This is the story of a boy named Kitwana,
A boy who laughed and played,
and went to school,
and did all the things that children do.
One day Kitwana’s life would change and not for the better,
This, however, nobody knew.”
- Ng'endo Mukii
Ng’endo Mukii further exposes the patriarchy engrained in our society with her film documentary titled ‘Kesho Pia Ni Siku’, which chronicles a Black-owned small business called Kanyoko Fabrics & Designs, run by Njeri Mereka, her mother. Kesho Pia Ni Siku, which means Tomorrow Is Another Day’ in Kiswahili, is part of Stories In Place, a collection of stories that chronicle small businesses as they navigate a world in flux. (from: WaAfrika Online and Okay Africa)
Quezada returns to their inhabiting a landscape, this time along the Mohawk Trail, not far from their home in Massachusetts.
“High Grind, Low Wage” weds duration with task, as Quezada cuts grass for fifty minutes uncut.
In “Seed/Unseed”, Quezada examines Indigenous-Latinx hybridity and how material histories function in contested lands and particularly the Mexico-United States border. (from The Latinx Project)
"Bedevil" is the stunning debut feature from Tracey Moffatt and the first feature directed by an Australian Aboriginal woman. Inspired by ghost stories she heard as a child from both her extended Aboriginal and Irish Australian families, Tracey Moffatt has constructed a sublime trilogy in which characters are haunted by the past and bewitched by memories.
This stylistically daring film audaciously explores the history of exploitation between white men and Aboriginal women, juxtaposing the “first encounter” between colonizers and native women with the attempts of modern urban Aboriginal women to reverse their fortunes.
On an isolated, surreal Australian homestead, a middle-aged Aboriginal woman nurses her dying white mother. The adopted daughter’s attentive gestures mask an almost palpable hostility. Their story alludes to the assimilation policy that forced Aboriginal children to be raised in white families.
Set in the year 2044, Night Raiders portrays a post-apocalyptic future where children, considered government property, are separated from their families and (re-)educated in state-run institutions. The film centers on Niska (Elle-Máijá Tailfeathers), a Cree woman who joins a resistance movement in an effort to free her daughter from the grips of the military government.
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