Film at Lincoln Center and African Film Festival Announce the Complete Lineup for 31st New York African Film Festival: May 8 – 14

Featuring the North American premiere of Tolu Ajayi’s Over the Bridge and the New York premiere of Dibakar Das Roy’s Dilli Dark – Harold George’s short Making Men  to be accompanied by the director’s dance troupe, a first-time event for NYAFF Mirah, After the Long Rains, Fight Like a Girl,  Dynamite, and Teacher Don’t Teach Me Nonsense

NEW YORK (April 2, 2024) — Film at Lincoln Center (FLC) and African Film Festival, Inc. (AFF) will celebrate the 31st edition of the New York African Film Festival (NYAFF) from May 8 to May 14. Since its inception in 1993, the festival has been at the forefront of showcasing African and diaspora filmmakers’ unique storytelling through the moving image. This year’s theme, “Convergence of Time,” explores the intersection of historical and contemporary roles played by individuals representing Africa and its diaspora in art. With more than 50 films from more than 25 countries, the festival invites audiences to delve into the convergence of archival and modern experimentalism, transcending both space and time.

“The 31st New York African Film Festival has so much to offer in terms of honoring the origins of homegrown, beloved African and diaspora film industry, as well as celebrating their references in modern masterpieces,” said Mahen Bonetti, NYAFF Founder and AFF Executive Director.

The Opening Night selection is the North American premiere of Over the Bridge, Tolu Ajayi’s feature about corruption in Lagos as Folarin, a successful investment banker whose company is contracted by the government to oversee a high-profile project, searches for answers when the project goes awry, which leads him to a remote fishing village to put the pieces of the mystery together.

The Closing Night selection features the New York premiere of Dibakar Das Roy’s riveting and uproarious Dilli Dark, which shows the boundaries Nigerian MBA candidate Michael Okeke will push to succeed as he lives a double life as a student and drug dealer amidst the backdrop of India’s history of colonialism, racism, and xenophobia.

The festival will also host the North American premieres of Matthew Leutwyler’s Fight Like a Girl, depicting the true story of a young Congolese woman (Ama Qamata from the hit Netflix series Blood and Water) who finds liberation after joining an all-women’s boxing club in Goma, led by an ex-child-soldier coach; and Oyiza Adaba’s biographical documentary DELA: The Making of El Anatsui, which delves into the life of El Anatsui, the world-renowned sculptor from Ghana, and triumphantly acknowledges the importance of Africa’s rich artistic and cultural heritage.

Three festival features are U.S. premieres: Yajaira De La Espada’s documentary Teacher Don’t Teach Me Nonsense, showcasing the life and empowering legacy of the founding father of Tanzania, Mwalimu Julius Nyerere, and the recent presidency of Dr. John Pombe Magufuli; Clive Will’s Time Spent with Cats Is Never Wasted, a stark piece of slow-burning cinema featuring a small-town worker who finds success after selling a helicopter he made out of scrap and found objects, while having to fight off the local townsfolk who insist on a cut of the profits; and Perivi Katjavivi’s Under the Hanging Tree, a hard-boiled crime thriller following police officer Christina, as she seeks to uncover details of a murder on a German-owned farm in present-day Namibia, set against echoes of the country’s history of genocide.

Five features making their New York debut are: Damien Hauser’s After the Long Rains, a touching account of 10-year-old Aisha, who longs to become a fisher so she can travel to Europe, and befriends an alcoholic fisherman who promises to teach her; Uche Aguh’s musical romance Dynamite, which finds musician Kiki in an unhappy marriage with her husband/manager and beginning a whirlwind romance with a replacement bassist in her band; Osvalde Lewat’s documentary MK: Mandela’s Secret Army, the little-known story of the military avant-garde founded by global icon Nelson Mandela, screening for the 30th anniversary of South African Freedom Day; This Is Lagos, Kenneth Gyang’s dark comedy featuring aspiring rapper Stevo navigating the dangers of his criminal past after an escape from a heist goes wrong; and The Rhythm and the Blues, the true-life story of legendary bluesman Eddie Taylor and his fight against obscurity, industry corruption, and cultural appropriation, starring actor and musician Leon.

An exciting addition to this year’s festival is La Chapelle, Jean-Michel Tchissoukou’s surreal take on the relationship between Africa, Christianity, and colonialism. A classic feature shot in 1980s Congo, this enchantingly bizarre and bitingly funny satire leaves one questioning the relevance of space and time.

Among many shorts premiering at NYAFF, not to be missed is Harold George’s Making Men. In a first for NYAFF, the screening of George’s film will be accompanied by a live dance performance from George and members of his dance troupe, as well as a discussion afterwards. A brilliant question of masculinity, visually probed via imagery of traditional customs, the film supplies modern questions with ancestral answers. Another, Love Taps, directed by Derrick Woodyard and executive produced by Spike Lee, offers another comment on masculinity, secrets, and family ties.

NYAFF will present an “Art & Activism” Town Hall at The Africa Center on Thursday, May 2, at 6:00pm, featuring artists Christian Nyampeta, Adama Delphine Fawundu, and Taiwo Aloba, moderated by cultural anthropologist, curator, and scholar Paulette Young.

This year’s Master Class presented by AFF will feature veteran independent filmmaker Ngozi Onwurah, who will discuss the craft of utilizing cinema as a tool for unmasking the dynamics of the socioeconomic status quo. The event takes place in the Amphitheater at the Elinor Bunin Munroe Film Center with tickets available through africanfilmny.org.

“A litany for past suns labeled rituals / A star lit any and all possible futures,” a digital art exhibit of the work of Zainab Aliyu, will run in the Amphitheater at the Elinor Bunin Munroe Film Center May 9–14 beginning 30 minutes before the first NYAFF screening of the day. The exhibit is inspired by Nikki Giovanni’s “A Litany for Peppe” (1970) and Audre Lorde’s “A Litany for Survival” (1978), two poems written years apart, yet converging thematically through time. As the title suggests, the piece is structured as a litany, a repetitive and rhythmic form often used in ceremonial settings. In this context, Aliyu’s litany serves as a call to action for her communities to alchemize their shared histories toward shared futures.

Tickets go on sale Thursday, April 11 at noon ET. Ticket prices are $17 for the general public; $14 for students, seniors, and persons with disabilities; and $12 for FLC Members. See more and save with a 3+ Film Package ($15 for general public; $12 for students, seniors (62+), and persons with disabilities; and $10 for FLC Members), the $99 All-Access Pass, or the $79 Student All-Access Pass. Contact info@africanfilmny.org for information about attending the Opening Night Party.

The festival continues at Maysles Documentary Center in Harlem from April 17 to 19 and culminates at Brooklyn Academy of Music under the name Film Africa from May 24 to May 30 during Dance Africa.

The programs of AFF are made possible by the generous support of the National Endowment for the Arts, New York State Council on the Arts, New York Community Trust, NYC Department of Cultural Affairs, Bradley Family Foundation, Domenico Paulon Foundation, NYC & Company, French Cultural Services, Manhattan Portage, Black Hawk Imports, Essentia Water, South African Consulate General, National Film and Video Foundation, and Motion Picture Enterprises.

The Opening Night premiere of Over the Bridge will take place at 

Folarin is an accomplished investment banker with a beautiful wife and a life most people can only dream of. When a high-profile government project his company was hired to manage goes awry, he starts to question everything he’s ever known to be true. After going missing, he discovers himself in a remote fishing village and starts to put together the missing pieces—but will he ever find his way back home?

New Delhi is not as “new” as the name might suggest. It is an ancient, cosmopolitan city that has seen many rulers, invaders, and settlers over the centuries. It is a city that is multicultural, yet hostile—forever playing out the battle between insider and outsider. But though Delhi has seen many kings, one can say that the city is the only true monarch, a god in itself. Michael Okeke is one of the many Nigerians living in the city, part of a larger African diaspora that is often looked down upon by the locals and accused of being criminals, cannibals, and more. He is studying for his MBA and dreams of joining the booming corporate sector in India, but in the meantime works as a small-time drug delivery guy to make ends meet. Living on the fringes of society, the only person who takes him in is a sketchy woman by the name of Maansi, someone who does not discriminate between black and white—but also seems to find no difference between right and wrong, a sentiment being echoed in every aspect of the city’s DNA. As Michael navigates this tricky landscape and tries to please the god that is Delhi, we are taken on a journey into Indian society’s tricky relationship with race, color, and identity.

Ten-year-old Aisha is given a school assignment to figure out what she wants to be when she grows up. She soon realizes that everyone is taking over their parents’ businesses and professions, but she has bigger dreams: She wants to go to Europe and become an actress. Her plan is to become a fisher so that she can sail to Europe, but her mother thinks that fishing should be left to men. Despite all this, she meets an alcoholic fisherman named Hassan, who promises to teach her how to fish.

Pa Kong-Kong is a mysterious man who lives alone in a deserted, gloomy market in the suburbs of Kajar. Rumor has it he tortures little thieves, runaways, and naughty children. Binta, a curious and courageous girl, decides to confront Pa Kong-Kong in the middle of the night, determined to prove to her friends that girls have the bravery to lead.

Set in 1930s Congo, director Jean-Michel Tchissoukou’s comedy La Chapelle humorously portrays the conflicts between African traditions and the Catholic Church during the construction of a chapel. Tensions rise as the village priest clashes with a young teacher, while the villagers navigate the establishment of a school and chapel, frustrating the parish priest.

Jabari, an orphan raised by seer Hem-Netjer, grows to uncover the mystery behind his birth and the demise of his parents. He takes on mystical giants summoned from the dark realms of the underworld in the course of fulfilling his discovered purpose and saving the innocent people of Aksum.

DELA: The Making of El Anatsui is a biographical documentary delving into the life of an extraordinary artist, El Anatsui, the world-renowned sculptor from Ghana. His inner musings find vivid expression in art that defies borders and limitations, reshaping the very concept of sculpture. Oyiza Adaba’s directorial debut triumphantly acknowledges and emphasizes the importance of Africa’s rich artistic and cultural heritage in the pantheon of global contemporary art.

Kiki, a songstress managed by her controlling and strong-willed husband Mark, is set to release her latest album when a replacement bassist, Kofi, comes in for a rehearsal with Kiki and her band. Sparks immediately fly, and Kiki is forced to make a difficult decision when she finds herself thrust into this new love affair.

A man’s desire for a beautiful stranger leads him down a dark and dangerous path, where he discovers a terrifying secret lurking beneath the surface. As he searches for the woman who stole his heart, a battle for survival ensues, and the man’s fate hangs in the balance as he fights to uncover the truth about the woman and her secrets. This gripping tale will keep you on the edge of your seat until the shocking finale.

English and Swahili with English subtitles​​

A young Congolese woman (Ama Qamata from the hit Netflix series Blood and Water) forced to work in an illegal mineral mine escapes her captors and finds a new life for herself after joining a renowned all-women’s boxing club in the border city of Goma. Based on the true story of an East Congo all-women’s boxing club and their ex-child-soldier coach, Fight Like a Girl was shot on location in the Democratic Republic of the Congo and Rwanda.

Examining the question of masculinity, this dance film zooms in on four individuals in the process of becoming men. As is expected, they proceed unquestioningly into manhood through various stages of their lives, adopting the clearly coded characteristics dictated by society. However, they’re oppressed by a feeling of unease in the very depths of their being, feeling uncertainty but also something else, harder to define…. Shot in the breathtaking landscape of Zimbabwe, Making Men features strong and rhythmical choreography but also special camerawork that intensifies emotions inspired by the movement. This special hour-long event will feature the New York premiere of the 24-minute film Making Men, followed by a discussion and a special dance performance by Harold George and Berrette Macaulay.

MK: Mandela’s Secret Army chronicles the lives of former members of uMkhonto we Sizwe (MK), the armed wing of the African National Congress. The documentary is an intergenerational reflection on the all-consuming call to take up arms for South Africa’s liberation, heeded by young men and women—some barely in their teens—who gave up their lives and any future to risk death for the dream of a free South Africa. The young guerilla fighters of yesteryear are now aging veterans. How will history remember them? Where are they now, and how have they reconciled a past committed to liberation with a present-day reality that their contribution to a free South Africa has almost been forgotten?

Inspired by a true story, Neighborhood Alert tells the story of a Black mother that is forced to take extraordinary action in order to ensure the safety of her teenage son.

A tale of passion, struggle, and the enduring power of music in an ever-changing world, The Rhythm and The Blues is the true-life story of legendary bluesman Eddie Taylor and his fight for recognition against obscurity, industry corruption, and the British Invasion’s cultural appropriation. Portrayed by actor and musician Leon, Taylor’s battles extend to his family, where an ambitious young wife and idolizing stepson complicate his quest for musical respect.

Funmi! is a visual praise song for a radiant soul on the occasion of his transcendence from man to melody, from brother to memory.

Teacher Don’t Teach Me Nonsense is a documentary that gives voice to the growing trend of Afro-descendants moving back to the continent of Africa to live. It highlights the life of a professional educator and their journey through the Texas school system to find freedom amid issues surrounding school equity, racism, and miseducation. This is juxtaposed against the life and legacy of the founding father of Tanzania, Mwalimu Julius Nyerere, who enacted empowering policies such as Ujamaa and Education for Self-Reliance, and the life and times of Dr. John Pombe Magufuli, the president who denounced COVID-19. While the American education system has left more to be desired in teaching about African leaders such as Nyerere and Magufuli, this documentary dissects the issues of culturally unresponsive curricula and harmful teaching practices in the U.S., providing solutions centered on the history of independence and contemporary political policies of Tanzania. Teacher Don’t Teach Me Nonsense helps viewers to imagine a society governed by teachers and the positive impact they bring.

Needing quick cash for studio time, aspiring rapper Stevo works for the psychotic Kojack and his “shoot-rob-run” gang. When their escape from a heist goes wrong, Stevo is separated from the gang. Luckily, he’s the one carrying the loot. In this dark comedy about a musician and his smart city girl, Stevo must navigate the dangers of his criminal past while pursuing his music dreams.

This stark piece of slow cinema captures one man’s battle with the world around him. Joe, a small-town abattoir worker, leads us on this allegorical journey. His dream to fly has impelled him to construct his own helicopter, a ramshackle assembly of scrap and found objects with no real practical capability aside from standing as a monument to his individuality. When an art buyer offers to purchase the flamboyant creation, it is a mixed blessing that causes a fracas among the people of his community, who unjustifiably demand a stake in the potential spoils. Joe is forced to fight off the avaricious townsfolk or lose all he has worked for.

In this first-of-its-kind film that dissects Namibia’s colonial past, Christina Mureti, a hard-boiled police officer from the city, is transferred to a small desert village in Namibia, where she uncovers a series of grisly animal sacrifices perhaps linked to the disappearance of the villagers’ children. Then a German farmer is found hung on the same tree where Christina’s ancestors were hung a century ago during Germany’s colonial war and genocide. It is only when Christina begins to learn about her people’s history and embraces some of its cultural wisdom that she will be able to solve the case.

A group of unlikely friends gather in a time-knot to watch and critique films made by Swedish cinematographer Sven Nykvist in the Congo between 1948 and 1952. Their discussion highlights enduring tensions surrounding social transformation, cultural property, and who has the right to representation.

As a child, little Alya is the only survivor of a tragic Mediterranean crossing from Africa to Europe. Many years later, as an astronaut on an important lunar mission, Alya loses communication with her base. She is confronted with her past trauma, and now Mångata—“the road to the moon,” which already saved her life once, will help her again.

For Those That Lived There weaves a visual tapestry, navigating the poignant impacts of gentrification, the displacement of Black legacies and the emergent migrant narratives.

Tabara, a second-generation immigrant from Senegal living in America, suffers from the consequences of a rape, with her trauma manifested in nightmares where a monstrous creature, mutilated above recognition, mocks her. After unsuccessful therapy and advice from her traditional grandmother, Tabara decides to travel to Senegal for the first time to seek treatment from an unorthodox source—an African marabout, a holy man who is believed to have supernatural power.

Young people gather for a party before going into COVID-19 lockdown. They talk about music, arts, work, and the uncertain future, not knowing when they will be able to meet again.

After arriving at a Cape Town police station to report a crime, Mzu finds an elderly man has been overlooked while waiting at the back of the queue. The station is busy and the old man is confused with no one to assist him. Mzu takes it upon himself to see that this man is helped but quickly finds resistance from those ahead in line and the stifling bureaucratic system. The Wait is an allegory of South Africa’s complex society, where a sense of powerlessness and hope exist together at all times.

A young boy trying to cope with his parents’ separation gains a new perspective of his father after discovering his affair with another man.

Iman indulges in a last joint before he takes a tolerance break. Once all of the herbs are gone, his phone starts to blow up. Texts from his supplier and from his love interest, Tori, pressure Iman to succumb to his environment and pursue more stress-relieving medicine. Through this journey Iman learns if the collapse of his discipline was worth it.

Jeanne Duval, the mixed-race muse and partner of Charles Baudelaire has been forgotten by time and erased by history. But she refuses to remain silenced. In this short we see April 27, 1842: a day in the life of Duval and Baudelaire. As the day goes on, the weight of Charles’s words and needs becomes increasingly difficult for Jeanne to bear.

Inspired by a true story, Mirah, an Egyptian immigrant living in Germany, finds a unique way to adapt to the fast life of Berlin. Through the fictional story of Mirah and her journey of self-discovery, the film invites audiences to question the social masks we wear to feel safe.

Hector Jr. tries to navigate the complexities of reconciling his self-identity amidst his father’s COVID-19 crisis.

A sense of the inevitable fills the silence between Addis and Rahel, a father and daughter, as they work tirelessly in their empty clock and antique repair shop.

In a realm of darkness, a young woman harnesses divine visions of God, light, and water to manifest her dreams, unlocking a mesmerizing inner universe of art, beauty, and movement beyond imagination. Black Dreams is a surreal, experimental documentary, an artistic testament to young, Black, queer artists in New York. As they peel back the layers, they unearth their own brilliance, discovering solace and kinship within their community, and a newfound sense that they are never truly alone. Black Dreams is evidence of our magic.

When the leader of a secessionist group in southeastern Nigeria is jailed, his loyalists mandate a compulsory “sit-at-home” on Mondays in protest. Siblings Kamnonu and Ogbonna face danger when they defy the Monday restrictions.  

Following a violent incident, Eissa, a 17-year-old African migrant in Egypt is in a quest against time to save his loved ones—no matter what it takes.

When Sanda shows up at her front door years after their breakup, Amina plays the perfect host. As the conversation unfolds, they acknowledge the things that time has made plain. But do they have the courage to confront the elephant in the room? Bege (Yearning) shines a light on the oft-unspoken emotional toll that comes about when love falls out of bounds for medical reasons, and examines what happens when the body betrays the heart.

An ad presenter has to sell the dream of the South African city Cape Town as a luxurious yet cost-effective new home to wealthy Europeans. Once she realizes her script is problematic, she tries her best to let the prospective audience know about the daily reality of Cape Town’s citizens.

A homeless woman relies on the kindness of a stranger to survive. When her lifeline disappears, she is forced to ensure her own survival in a perilous city with devastating consequences.

Where My Memory Began follows elder Ballu as she tries to remember a 400-year-old cotton tree.

Join AFF as veteran independent filmmaker Ngozi Onruwah discusses the craft of utilizing cinema as a tool for unmasking the dynamics of the socioeconomic status quo in an intimate conversation with Ashley Clark, Curatorial Director at the Criterion Collection, in the Amphitheater in the Elinor Bunin Munroe Film Center.

Film at Lincoln Center (FLC) is a nonprofit organization that celebrates cinema as an essential art form and fosters a vibrant home for film culture to thrive. FLC presents premier film festivals, retrospectives, new releases, and restorations year-round in state-of-the-art theaters at New York’s Lincoln Center for the Performing Arts. FLC offers audiences the opportunity to discover works from established and emerging directors from around the world with a passionate community of film lovers at marquee events including the New York Film Festival and New Directors/New Films.

Founded in 1969, FLC is committed to preserving the excitement of the theatrical experience for all audiences, advancing high-quality film journalism through the publication of Film Comment, cultivating the next generation of film industry professionals through our FLC Academies, and enriching the lives of all who engage with our programs.

Film at Lincoln Center receives generous, year-round support from the National Endowment for the Arts and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. American Airlines is the Official Airline of Film at Lincoln Center. For more information, visit filmlinc.org and follow @filmlinc on X and Instagram.

Since 1990, African Film Festival, Inc. (AFF) has bridged the divide between postcolonial Africa and the American public through the powerful medium of film and video. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management, but also by a comprehensive approach to the advocacy of African film and culture. AFF established the New York African Film Festival (NYAFF) in 1993 with Film at Lincoln Center. The New York African Film Festival is presented annually by the African Film Festival, Inc. and Film at Lincoln Center, in association with Brooklyn Academy of Music and Maysles Cinema. AFF also produces a series of local, national, and international programs throughout the year. More information about AFF can be found on the Web at www.africanfilmny.org. You can follow AFF at @africanfilmfest on X and Instagram.