In the midst of Mozambique's devastating civil war, Muidinga, an orphaned refugee, wanders the countryside in search of his mother. His only companion is an elderly storyteller, and the only guide to finding his mother is a dead man's diary. This transporting drama underscores the power of imagination in surviving, and ultimately overcoming, the catastrophe of war.
In 1989, Mozambique is a country ruined by civil war. The train that connects Nampula to Malawi is the only hope for people willing to risk their lives to exchange a few bags of salt for sugar. Running slowly over sabotaged tracks, the journey is filled with obstacles and violence. Mariamu, a frequent traveler, shares her trip with her friend Rosa, a nurse who is going to her new hospital, living the reality of war for the first time, Lieutenant Taiar, who only knows the reality of his military life, and another soldier, Salomão, with whom he doesn’t get along. Amongst bullets and laughter, stories of love and war unfold as the train advances towards the next stop.
Two boys with different experiences and goals meet up in a sprawling African market. One is looking for a job, to get back what was stolen from him and return home. The other will do anything to avoid having to go back with his family. They become friends and together they reinvent the world.
Charterston Township 1990. Professor Zamani is respected in the township. To be sure, he once raped one of his students but the community turned a blind eye. Zamani used to rail against the apartheid system but those days are long gone. Now he teaches South African history in the Afrikaner language and grudgingly organizes the picnic for National Day, which commemorates the Boers' massacre of the Zulu nation... When Zani, the rape victim's brother, returns from Swaziland where he won a place in school, he is determined to change everything. In the small hours, in the waiting room at Johannesburg station, he runs into Prof. Zamani, who's spent the night on the town. They travel back together to the harsh reality of the township. In due course, Zamani regains some of his pride and Zani, inevitably, loses some of his...under the gaze of the women, who never renounced their dignity.
1975, Mozambique’s rebirth as an independent nation. The young revolution sweeps the streets of Maputo clean of prostitutes and bad habits. The prostitutes are sent to re-education camps deep in the countryside, where they will become “new women” – loyal comrades of the new nation. As the “clean-up” takes place, Margarida, a 16-year-old girl from the countryside, is mistakenly taken. Drawing on the stories of real women, Virgin Margarida is a dramatic exploration of a little known chapter in Mozambique’s history. A chapter that made no allowance for individuality and enshrined male domination as an ideology.
In the form of a short political fable, Nhinguitimo explores the relations between the dispossession of rural land—and its crops—and the colonial system. The story of the rebellion of one single farm worker against the colonizers six decades ago can also shape a reflexion on the persisting exploitation of the territory and its people.
Four stories in a Mozambican village. Stories about a water can, a well that gets broken, a lonely hunter, and a bird that becomes a radio.
Each Malangatana's brushstroke is a new line of a long life story. Odd black and white sketching, full of little people in the middle of animals, or with such an explosive African color, that describes the painter memories. Starring at the drawings he says "one day I will explain all this". Throughout is living memories and these promises we are taken on a journey into the African world. We see the relation between the present and the past along with the spirits, how they are connected in an emotional way, how they integrate themselves, having to assimilate another culture in colonial time. Malangatana is one of the most important painters of the African Continent.
