Los Angeles’s Pan-African Film Festival is currently in effect (February 10-17). I have a long-lasting love-hate relationship with it. On the one hand, their website (despite improvements this year) remains hard to navigate, is rife with typos, incomplete information and omissions. In other words, it’s inexcusably bad. How about a calendar, folks?
In addition, every year I take issue with the selection of films. The programmers have a very odd definition of “Pan-African.” Last year was the worst, with the focus on the African diaspora coming at the expense of even a single African feature. Thankfully, this year there are several African features but still some questionable choices. It’s nice to see films about Africa’s many-but-usually-ignored non-black people, such as Finemachiyamoché, about Moroccan Jews, and Florida Road, starring members of South Africa’s sizable south Asian population. On the other hand, Forgotten Bird of Paradise, about Papua is, regardless of its possible merits, an embarrassing example of the organizers' colorist, transracialist equation of African-ness with pigmentation rather than actual African ancestry. The inclusion of an Iranian film, The Stoning of Soraya M., is a real head-scratcher. Are they equating Islam with African-ness now? Another odd choice is Darfur, directed by German hack Uwe Boll (BloodRayne 3, House of the Dead, Postal Zombie Massacre and other garbage).