The Panafrican Film and Television Festival of Ouagadougou (Festival panafricain du cinéma et de la télévision de Ouagadougou or FESPACO) is the largest film festival in Africa, held every two years in Ouagadougou, Burkina Faso. The festival usually takes place in March of every year it is held. Founded in 1969, it has honored a great number of movies whose impact is still felt today. In celebration of the upcoming film festival, below are five of the most celebrated French-language African films (award-winning or not) that have left their mark on an entire generation of movie-watchers. Ivory Coast: “Bal poussière” (Dancing in the Dust) Poster for the film “Bal poussière” – Public domain “Dancing in the Dust” is a 1988 Ivorian film directed by Henri Duparc. Seen by over 300,000 people in France, this satire of polygamy tells the story of Alcaly (a.k.a. “Demi-God”) who, despite already having five wives, becomes infatuated with Binta, a young woman who has returned home from the big city of Abidjan. See a French-language clip from the movie below: Gapont [fr], contributor on Allociné in Paris, explains what he found striking about the movie: Un petit bijou de fraîcheur et de spontanéité. Ce film a la candeur du cinéma de Renoir ou de Pagnol. Petit budget pourtant, acteur souvent amateurs, tourné en super 16mm et pourtant la magie est là, on se laisse porter par ces personnages incroyables. Du vrai cinéma. A fresh and spontaneous little gem. This movie has the candour of a [Jean] Renoir or [Marcel] Pagnol work. Small budget, many amateur actors, shot in Super 16 mm, yet the magic is there, these incredible characters simply carrying us away. Authentic filmmaking. Ethiopia: “Va, Vis et Deviens” (Live and Become) Poster for the film “Va, vis et deviens” – Public domain “Live and Become” is a 2005 French-Israeli film by Radu Mihaileanu. In an Ethiopian refugee camp in Sudan, a Christian mother makes her son Shlomo pass as Jewish in order to survive and be included in Operation Moses, which brought many Ethiopian Jews to Israel. Declared an orphan, Shlomo is adopted by a Sephardic Jewish French family living in Tel Aviv. He grows up fearing that his secret past will be revealed. See the trailer below: Janos451, an IMDB commenter from San Francisco, loved the movie's dramatic intensity: What makes the film extraordinary – what creates all the crying in the audience – is its honest and effective portrayal of the young refugee's isolation and loneliness, made worse by his belief that his escape is at the cost of his mother's life The film is based on the history of the Beta Israel (Ethiopian Jews) who, despite their efforts, have experienced a great deal of difficulty gaining acceptance after immigrating to Israel. The movie has seen renewed interest recently as many African immigrants in Israel have been demonstrating for their rights. Chad: “Un homme qui crie” (A Screaming Man) “A Screaming Man,” originally titled “A Screaming Man is Not a Dancing Bear,” is a film by Chadian director Mahamat Saleh Haroun, released on September 29, 2010. It received the Cannes Film Festival Jury Prize in 2010. The original title is a quote from “Notebook of a Return to the Native Land” by Martinican poet Aimé Césaire. The film tells the story of 55-year-old Adam, a former swimming champion turned hotel lifeguard in N'Djamena. When the hotel is taken over by Chinese investors, he is forced to surrender his job to his son Abdel. The blogger at Words of Katarina explains what makes the movie so compelling: A Screaming Man talks about loss of self, not as a consequence of happenings beyond our control, but of the choices we make when life throws us off guard. . . It is in fact up to ourselves to decide what kind of person we want to be and how to express and live up to the decision once it has been made. Algeria/Morocco: “Indigènes” (Days of Glory) “Days of Glory” is a 2006 Algerian-Moroccan film directed by Rachid Bouchareb. The film tells the stories of one Moroccan and three Algerian soldiers serving in the French army during World War II: Abdelkader, Saïd, Mesaoud and Yassir. While they are disillusioned by the discrimination they experience during the war, the movie also illustrates their emerging sense of hope and political consciousness. Sarah Elkaïm, French writer and African affairs expert at Critikat explains the film's historical significance [fr]: Personne ne s’était encore attaché à relater le sort de dizaines de milliers d’Africains, du Maghreb et au-delà du Sahara, qui, au sein de l’armée française, ont participé à la libération du pays qu’ils n’ont jamais, pour la plupart, cessé de considérer comme leur patrie. [..] c’est ce qui fait la force et l’émotion du film : les personnages sont construits, et pas prétextes.