Teboho Edkins

Teboho Edkins and his father journey to Ethiopia, joining a community in mourning both his brother and victims of a plane crash.

The wastelands and crowded streets of an African country are traversed by a woman bearing a wooden cross on her back. She is followed by sellers, beggars and passersby, outraged voices, pity and curious glances. Parallel to her, among a herd of sheep, a lamb toddles its way from the far away mountains into the heart of the city, only to find itself dangling, skinned and headless, on a butcher’s shoulder. In the meantime, under the scorching sun, in a roofless house, a woman is persistently knitting a garment, unwinding a thread coiled over her son’s face.

A Western-like documentary set in a remote rural region in Lesotho: a frontier space where the ways of modern society are of little, if any, value. The arrival of economic migrants from China has irrevocably upset the balance of power, as old laws and ancient gods are doddering away. Subtle moments and small gestures reveal the trauma of expatriation, the burden of personal sacrifice, solitude and alienation, as well as the painful experience of otherness. As old structures begin to disintegrate and violence is about to erupt, one rule asserts itself above all others: eat or be eaten.

As a young man, director Ike Nnaebue left Nigeria intending to take the route via Benin, Mali, and Mauritania to Morocco - but he was forced to turn back earlier, and never made it to Europe. In his first documentary, No U-Turn, he retraces the life-changing journey he made over 20 years ago. Along the way, he meets those who are taking the same trip and, through conversations with them, tries to understand what motivates young people today to expose themselves to the dangers of a passage into an uncertain future. Most are aware of the dangers of traveling undocumented by road, yet more and more are joining the ranks of those who take this risk. Overlaid with a powerful poetic commentary and insight into the long-reaching impact of a colonial past, this self-reflective travelogue unpacks the deep longing of an entire generation in search of opportunities.

Thabo, Thabiso and Moalosi are young, attractive and deal openly with their HIV status. Nearly a third of the population in Lesotho is HIV positive.

In Cape Town, South Africa, one of the world's most violent and unequal societies, a young white film student sets out with his cameraman to make a “gangster film,” with real gangsters. After a lengthy search for a suitably 'cinematic' character, he finds the perfect gang and settles into their everyday rhythm. The reality soon catches up and the claustrophobic gangster life doesn’t exactly fit to the expectations.

"Shepherds" shows how cattle are a constitutive element of the entire social life in Lesotho, a tiny country enclaved within the territory of South Africa. Cows have a deeply symbolic and material significance, and owning them is thus of very great value. The film was made in a jail where cattle thieves are held. They relate episodes from their lives and talk about why they are there.

Follows a young man as he travels the mountain kingdom of Lesotho showing his film in remote villages, schools and communities. Sheriff was born with a girl’s body, but as the grandmother in his film recounts, he refused to wear dresses and always wanted to play with the boys.

In the Lesotho highlands, a 15-year-old boy tends his family's flock of sheep alone through the winter. His younger brother might have to quit the village school to help him. And two girls attempt to maintain their unique friendship when one of them goes off to attend a better school and the other stays in the village. Over the span of two years the film accompanies four teenagers in an isolated mountain village on their path to adulthood - a path between individuation and tradition.

Set in the rural plains of Lesotho, the film documents a day in the life of children living in a Buddhist orphanage, leading to an exploration of shifting power relations and moral value systems.

High in the mountains of Lesotho, Mosaku is anxiously awaiting the return of his older brother from an initiation ceremony.

During a casting session in South Africa, Teboho Edkins asks real gangsters to get on stage and play their everyday life.