This film follows the events triggered by a young man's killing of a leopard with a self-made trap in Kara, Southern Ethiopia. Anthropologist Felix Girke and film-maker Steffen Köhn follow the protagonists as a social drama slowly emerges: during the feast which celebrates the hunter's achievement, a challenge as to the ownership of the precious hide is issued. The events of the film reveal how ritual rules are strategically manipulated and contested for not entirely evident reasons.

Paris Couleurs, a compilation of archival film material, deals with the image of the migrant in cinema and television throughout the century. From ”Zoos Humains” to the mythical ”Black-Blanc-Beur” of the year 1998, the film follows a history of representation, clichés and stereotypes. With this film Pascal Blanchard and Eric Deroo present a new audiovisual version of their research program “from the native to the immigrant” and their point of view of the relation between colonial history and the history of immigration.

Baye Fall is a Muslim practice derived from mouridism, a Sufi based faith deeply rooted within Senegalese culture. Through the story of one family, the film explores the beliefs and lifestyle of Baye Fall followers.

In the 21st century, many ancestral beliefs are struggling to survive in a hostile, fast-changing world. In southeast Ivory Coast, some Akan communities still contact the spirits through Komians or animistic priests who go into a trance and are possessed by the spirits of the Forest and the Waters. Jean Marie Addiaffi (1941-1999), a writer and intellectual from Ivory Coast, fought to conserve the Akans' oral literature, myths and legends, and the traditional knowledge and uses of plants. In Return to the Land of Souls, Yéo Douley, a disciple of Jean Marie Addiaffi, sets out on a journey to visit his master's grave and carry out a ritual libation. On his travels, he attends the initiation rites of three people chosen by the spirits and witnesses one of them proclaimed as the new Komian, or high animistic priest.

This documentary challenges the social bases of domestic violence by showing the strategies used by women who work in the legal system, in the gaps left where there are no longer traditions, beliefs or state or religious laws. It is an epic everyday struggle to defend women, but also to convince poor women of their rights. Sisters in Law is a fascinating look at the work of a courthouse in a small town in Cameroon, Central Africa. The tough-minded state prosecutor, Vera Ngassa and judge, Beatrice Ntuba, are helping women and children to find the courage to fight difficult cases of domestic violence and child abuse despite pressures from family and their community to remain silent. Through their emotional stories and courage, the extraordinary work of women in the judicial system shines through. With fierce compassion, the female prosecutor and judge dispense wisdom and justice in fair measure; handing down stiff sentences to those convicted. Sisters in Law presents another reality of African Women’s agency and their resilient spirit, courage, hope and fight for justice and gender equality.

Following Nigeria's independence in 1960, the British left the country but multinationals began to proliferate thought the land, specially after the discovery of the region's largest oil well. Agriculture, which had previously given the country a degree of economic equilibrium, was hurt by the agreement between Nigeria's new leaders and foreign investors, which resulted in the expansion of the oil fiends and the destruction of agricultural land. The documentary reflects this situation through the musician and political activist Fela Kuti and his son Fema Kuti. Music is depicted as the awakening of a conscience, as a celebration of life and African roots, and as an indictment of a government that acts as a franchise of western multinationals.