The 27th Annual Pan African Film Festival came and went, leaving a trail of wonderful cinematic moments. Following my list of the 10 must-see films at the festival, I have to share my thoughts on the films I saw. I’m so proud that I was able to support Black films by seeing The Burial of Kojo and Fig Tree. They were both vastly different, one a magical-realistic story from Ghana and the other a story set in 1989 civil-war-torn Ethiopia. Yet, the films held universal elements such as exploring family, sharing culture and strong female characters. On the days I went to the Cinemark at Baldwin Crenshaw Plaza, the place was filled top to bottom with friends, families, and couples. This Black History Month, the film festival was a dynamic expression of community and celebrating authentic storytelling and creativity.

The Burial of Kojo

Seeing the trailer for The Burial of Kojo, I knew it was going to be special and innovative. It’s a tale of struggling with guilt that is spectacularly told through elements of magic realism directed and written by Blitz The Ambassador (a renowned musician). The film submerges the viewer in the lives of a Ghanaian family. With stunning cinematography by Michael Fernandez, the film uses upside-down camera angles and sweeping landscape scenes to distinguish the physical and spiritual worlds. The gateway between those worlds is the mind of a beautiful little Black girl named Esi. The father-daughter relationship was one of the most endearing aspects of the film. It was in the subtle moments where we as the audience see their natural closeness. They were always together. When Kojo would ask his daughter questions, he honestly wanted to hear the answers and valued her perspective. 

Some people believe that once an art piece is out into the world the artist’s opinion about their work doesn’t necessarily matter. I disagree with this, especially when the artist can speak so clearly about their intentions and the creative process. That’s what Blitz and Michael were able to do during a Q&A after the screening. Blitz shared “If I’m going to make a film, I want to make it how I know stories are told” which is from a matriarchal lineage. He grew up hearing stories from his grandmother and that is one of the amazing reasons why we have Esi.   

The dynamic partnership between Blitz the Ambassador and Michael Fernandez pours through the film as they shared in the Q&A that neither of them went to film school. Instead, they collaborated using their mind for music and the skill of improvisation, which allowed them to “treat the script as a sample” to cut and change constantly. In lieu of a huge budget that would have paid for over-the-top special effects, the filmmakers truly used a creative edge to capture otherworldly moments. You’ll see it when sparklers rain down on Esi, which was a practical effect helmed by Fernandez. 

It’s no surprise that Ava Duvernay’s company, Array, just recently picked up this debut film for distribution. In case you missed it, you can find The Burial of Kojo on Netflix March 31st.

Fig Tree

I anticipated this film would be heartwrenching, yet a film worth watching due to the vastly different perspective. As I mentioned before Fig Tree is the first feature film by director Aäläm-Wärqe Davidian. I think the sharp storytelling of a woman behind the camera really showed in the strong and often hard-headed main character Mina. I could feel it in the characters steel-like will, her determination to even risk her own chance to leave Ethiopia to help her best friend/love interest, Eli. I know people think female characters should have strong moments irrespective of a male love interest, yet I think this doesn’t deter from Mina’s overall character. Living in an environment of civil war where the person who is your confidant, your next door neighbor, and first love could be kidnapped at any moment to fight in the war allows Mina to be a strong female character and a young girl worried about her love interest. Mina has us on edge at times because of the risks she takes. Her actions, such as stealing and burning her classroom’s attendance record so that authorities wouldn’t find Eli’s name are moments that show us she would do anything to protect the people she cares for.

Most of all, I loved that the relationship between Mina and Eli was so realistically rendered. I could feel that had such a long history through their ability to tease and find moments of happiness in their world. It was beautiful how the fig tree in the film was a focal point in allowing the characters to have time with each other.

Fig Tree was also a film I wished could have been explored more with a Q & A from the director. I feel there is much underlying symbolism that could have been highlighted. It would have been great to poke at the story with her. The ending, which I won’t spoil, at first left me with a feeling of wanting more. Feeling that the story wasn’t finished the way the film simply cut out. Upon thinking about it more, I realized we are left in the exact headspace of Mina. We don’t know what the next stage is. We’re left with the terrible what-ifs because we’ve seen throughout the film what happens to the men who come back home. They may have survived but they are battered inside and out. Also, we can get an idea of the families that couldn’t leave Ethiopia at the time.

I hope my insight on these two films leaves you wanting more Black stories. Please go out and seek them, there are many more film festivals cropping up. If you can wait, the 28th Annual Pan African Film Festival will surely have another batch of great Black films to show you next year.

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Best,

Kai