If Only I Were That Warrior

If Only I Were That Warrior is a feature documentary film focusing on the Italian occupation of Ethiopia in 1935. Following the recent construction of a monument dedicated to Fascist general Rodolfo Graziani, the film addresses the unpunished war crimes he and others committed in the name of Mussolini’s imperial ambitions. The stories of three characters, filmed in present day Ethiopia, Italy and the United States, take the audience on a journey through the living memories and the tangible remains of the Italian occupation of Ethiopia — a journey that crosses generations and continents to today, where this often overlooked legacy still ties the fates of two nations and their people.

Om våld

Concerning Violence is based on newly discovered, powerful archival material documenting the most daring moments in the struggle for liberation in the Third World, accompanied by classic text from The Wretched of the Earth by Frantz Fanon.

A Minha Avó Trelotótó

«My grandma had a great strength and love for life which made me believe that some of us were able to become immortals and escape death. When she passed at the age of 92, her death was a surprise to me, which I was not prepared for. The cinema has the immense power of creating the illusion of life and its protection. This film is my attempt to rescue my grandma from death. It is not a documentary about my grandma but a film with my grandma. I wanted to film a ghost and then return it to the realm of the living, like Orfeu tried with Eurídice. It is a route to resurrection. It is my way of giving her immortality which I deem to be her right.»

René Vautier, le rebelle

Agassizhorn: Berg der Schande

In the Bernese Alps, the Agassizhorn peak memorialises Louis Agassiz – a controversial 19th-century scientist, who not only named the mountain after himself, but who claimed he had discovered the Ice Age and went on to become one of the century's most virulent, most influential racists.

A Story from Africa

Following the 1884–85 Berlin Conference resolution on the partition of Africa, the Portuguese army uses a talented ensign to register the effective occupation of the territory belonging to the Cuamato people, conquered in 1907, in the south of Angola. A STORY FROM AFRICA enlivens a rarely seen photographic archive through the tragic tale of Calipalula, the Cuamato nobleman essential to the unfolding of events in this Portuguese pacification campaign.

Algérie 1962: Chronique d'un conflit

Hora De Mudar

Angolan director and screenwriter Pocas Pascoal reminds us that it’s time for a change, proposing through this film a look at colonialism, capitalism, and their impact on global biodiversity. We observe that the destruction of the ecosystem goes back a long way and is already underway through land exploitation, big game hunting, and the exploitation of man by man.

Negotiating Amnesia

Negotiating Amnesia is an essay film based on research conducted at the Alinari Archive and the National Library in Florence. It focuses on the Ethiopian War of 1935-36 and the legacy of the fascist, imperial drive in Italy. Through interviews, archival images and the analysis of high-school textbooks employed in Italy since 1946, the film shifts through different historical and personal anecdotes, modes and technologies of representation.

Rester en Algérie

Algeria, summer 1962, eight hundred thousand French people left their native land in a tragic exodus. But 200,000 of them decided to attempt the adventure of independent Algeria. Over the following decades, political developments would push many of these pieds-noirs into exile towards France. But some never left. Germaine, Adrien, Cécile, Guy, Jean-Paul, Marie-France, Denis and Félix, Algerians of European origin, are among them. Some have Algerian nationality, others do not. Some speak Arabic, others do not. They are the last witnesses to the little-known history of these Europeans who remained out of loyalty to an ideal, a taste for adventure and an unconditional love for a land where they were born, despite all the ups and downs that the free Algeria in full construction had to go through.

Atlantis: Secret Star Mappers of a Lost World

Go beyond the lost human history! A profile and examination of the recent findings of a highly advanced human settlement submerged at the end of the Ice Age when the sea level rose. The story of Atlantis has its roots in actual historical events!

A Luta Continua (The Struggle Continues)

A Luta Continua explains the military struggle of the Liberation Front of Mozambique (FRELIMO) against the Portuguese. Produced and narrated by American activists Robert Van Lierop, it details the relationship of the liberation to the wider regional and continental demands for self-determination against minority rule. It notes the complicit roles of foreign governments and companies in supporting Portugal against the African nationalists. Footage from the front lines of the struggle helps contextualize FRELIMO's African socialist ideology, specifically the role of the military in building the new nation, a commitment to education, demands for sexual equality, the introduction of medical aid into the countryside, and the role of culture in creating a single national identity.

The First 54 Years: An Abbreviated Manual for Military Occupation

An exhaustive explanation of how the military occupation of an invaded territory occurs and its consequences, using as a paradigmatic example the recent history of Israel and the Palestinian territories, the West Bank and the Gaza Strip, from 1967, when the Six-Day War took place, to the present day; an account by filmmaker Avi Mograbi enriched by the testimonies of Israeli army veterans.

I Will Speak English

'An instructional film made on behalf of the Department of Social Welfare, demonstrating a new technique to teach English to illiterate adult audiences in the Gold Coast. (..) This is a film with an almost entirely African cast, depicting an African teacher instructing a group of African students, produced by a predominantly African crew. Yet, the subject of the film – encouraging the widespread teaching of English – jars with this image of a modern Gold Coast. Just as the Gold Coast Film Unit was overseen by British figures – such as Sean Graham and, in this case, George Noble – this film also endorses the retention of British influence within a new national identity'. - Tom Rice, for colonialfilm.org

A So-Called Archive

With a forensic lens, Onyeka Igwe's A So-Called Archive interrogate the decomposing repositories of Empire. Blending footage shot over the past year in two separate colonial archive buildings - one in Lagos, Nigeria, and the other in Bristol, United Kingdom - this double portrait considers the 'sonic shadows' that colonial images continue to generate, despite the disintegration of the memory and their materials. It mixes the genres of the radio play, the corporate video tour and detective noir, with a haunting and critical approach to the horror of discovery.

The world like a jewel in the hand: unlearning imperial plunder ii

This film travels over open books, looted objects and postcards to look for the imperial foundations of the world in which we live. Within this wide landscape the film focuses on the destruction of the Jewish Muslim world that existed in North Africa, making it imaginable and inhabitable again. Narrated in the first person, by an Algerian Jew and a Palestinian Jew, the film refuses imperial histories of those places. Objects held captive in museums and archives outside of the places from where they were looted are only the visible tip of the iceberg of the mass colonial plunder of Africa. The film explores the substantial wealth accumulated through the extraction of raw materials, labour, knowledge and skills, including the “visual wealth” attained by putting people in front of the colonisers’ cameras.

አድዋ

In 1896, Ethiopia, an African nation, largely armed with spears and knives, defeats a well-equipped and organized Italian military bent on colonization.

Atlantis - Der geheime Code der Azteken

L'Aube des Damnés

This excellent feature-length documentary - the story of the imperialist colonization of Africa - is a film about death. Its most shocking sequences derive from the captured French film archives in Algeria containing - unbelievably - masses of French-shot documentary footage of their tortures, massacres and executions of Algerians. The real death of children, passers-by, resistance fighters, one after the other, becomes unbearable. Rather than be blatant propaganda, the film convinces entirely by its visual evidence, constituting an object lesson for revolutionary cinema.

El laberinto marroquí