A young Tutsi woman and a young Hutu man fall in love amid chaos; a soldier struggles to foster a greater good while absent from her family; and a priest grapples with his faith in the face of unspeakable horror.

Following the story of a genocide survivor as well as son of a killer, the film revolves around the meaning of an old coat and its symbolic value for the young boy’s dramatic past. (African Film Festival, New York)

Kwame, an African man, wants to travel outside of his compound, but he must first get a visa from a Caucasian gatekeeper who controls movements in-and-out of the house. It is only with the help of a Caucasian girlfriend that he succeeds.

We meet ornithologist Anna in 1994 just as genocide is raging in Rwanda, perpetrated by the majority Hutus against the Tutsis. Anna manages to save the daughter of a colleague whose family has been murdered, and she takes her to Poland. But the woman returns to Rwanda to visit the graves of her loved ones. The director originally worked on the movie with her husband Krzysztof Krauze (My Nikifor – Crystal Globe, KVIFF 2005), but after his death in 2014 she eventually finished this challenging picture alone.

The extraordinary story of three Rwandan children who attempt to realize the dream of their life: to attend the opening ceremony of the FIFA World Cup 2010 at Johannesburg.

Balthazar is a young African filmmaker on the brink of directing his first project, The Cycle of the Cockroach, a fictional story about a young woman who survived unspeakable atrocities only to find herself committed to the same mental institution as a man driven insane by the crimes he perpetrated during the war. Potential funders for the film insist the themes are too bleak and pessimistic-they encourage Balthazar to make a "message" film that raises awareness about gender-based violence or HIV/AIDS instead. But he refuses to give up. Instead of telling his production team the news, Balthazar continues preparations for the film without financing or equipment. After rehearsing a scene with each of the characters, reality blurs and scenes from the script materialize, provoking the question: Can a film like this exist only in the director's dreams? Armed with a daring and creative visual language...

The film centers on a pair of young lovers; Bapiste is more than ready to have sex with his girlfriend Josette, but she refuses, arguing that when they are married they can have all the sex they would like. Meanwhile, powerful Hutu leaders have had enough of Tutsi rebels and call on all Hutus to kill their Tutsi neighbors. As chaos breaks out, the Tutsis flee and the lovers are separated. Josette and her family find solace in a Catholic church run by a sadistic priest. The Catholic Church, the state, and the French army look the other way as bloodshed ensues. Josette is taken as a "wife" by the priest and repeatedly raped. When the Belgian army sent in to protect the church is called away on an emergency, the Hutus attack and massacre hundreds of women and children. Josette miraculously survives, but she is only a husk of the woman that she was. As the Tutsis regroup, they exact terrible revenge.

A young Congolese woman, forced to work in an illegal mineral mine, escapes her captors. She finds a new life for herself after joining a renowned all-women boxing club in the border city of Goma.