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Michael B. Jordan On Being The New Face Of Coach, His Fragrance Trick, And His Fashion Philosophy.

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Michael B. Jordan is known for his impressive range. He stole the small screen (and hearts) as Wallace in The Wire. And who can forget his turns in Friday Night Lights, Creed, Fruitvale Station and Black Panther, to name a few? But his latest role is uncharted territory for him once again. This time he is the new face of Coach. Jordan tells us all about it.

Why did you sign on as the face of Coach? It wasn’t an overnight thing. From some red carpets and press events and going to fashion shows, and getting to know Stuart (Vevers) and the brand over a few years and then ultimately getting to the place where it’s like, alright, I know the people that actually are in the front office, I know the designer, I know what the brand represents and it was very similar to things I care about. I’m not a guy who chases money or one deal just for a deal. It really has to be a partnership and compliment each other. I found that Coach was the perfect brand for me to do that with and then also having a fragrance line, something I always wanted to be a part of, it was like a one stop shop for a lot of the things on my checklist—I checked off a lot of my boxes.

Which is your favorite Coach fragrance? Coach for Men is my favorite. I like that it’s just a little bit more earthy. It reminds me of a cologne that I don’t remember the name of, but I remember when I was a kid, the first time I ever really wore cologne, one of my best friend’s older brother would always have tons of cologne bottles. And he’d say, “don’t go in my room and don’t touch my stuff.” Of course, when he’s not there, you’re in there looking at all the sneakers that you can’t fit in or can’t have, and the cologne bottles, and we’re putting his stuff on, and then I remember dousing myself in it and going somewhere and I gave this girl a hug and she was like, you smell so good, and I was like, what, you can smell that on me? And then when I smelled this, I was like, wow, this takes me back. That’s the power of smell, so I just always kind of dug it. And I like the bottle too. It’s a little fruitier; it has pineapple notes, black pepper oil and juniper berries, so this one is a little lighter for me, but it also tells a story.

On a regular day, when you’re not on set, what’s your grooming routine like? It depends on what mood I’m in. If I’m in more of a creative space, doing a lot of work and developing things and starting up companies, really in the thick of it, I’ll probably let my hair and facial hair go. I’ll still get a haircut, but I’ll probably let my face go. I just got my first manicure/pedicure the other day, which is pretty cool for men. That was a good experience. A typical grooming experience for me is haircuts, showers, you know what I’m saying. A little manscaping. Keeping it cool.

How do you like to wear fragrance? You can’t put lotion on right after you shower because you start sweating—that’s what I learned over time, for sure. Air dry, dry off, you know, lotion up, and then I usually spray a body layer. Not a lot, but just a little bit and then I get dressed and I might add another shot right before I go out. It’s all about layering, because you don’t want to overpower everything up top. So, you have a base scent that’s always going to be there, that sits on your clothes a little bit, and then you have a top layer that’s more of the introduction to somebody.

Outside of the cologne realm, what smells do you like? I love the smell of fresh cut grass. It reminds me so much of being back home because I used to mow the lawn all the time. In LA we don’t have lawns like that, so that’s something I definitely miss. Morning dew. Something I love, early morning when I’m going for a run or something, I just love the smell of the moisture in the air—it’s pretty sweet. My grandmother’s rum cakes. She used to live next door to me growing up, so whenever she was baking rum cakes the smell would just creep through my house, so that’s something that smell, that sugary rum glaze. It’s pretty good.

Was there someone who took you under their wing to show you how style can make a statement? My best friend Sterling, he’s a fashionable guy. I’m paying attention a little bit more. There really are no rules; you’ve got to do what makes you feel comfortable. It’s all about feeling comfortable in what you have on. Everybody is not going to like what you have on, so you can’t really pay attention to what other people might say or think, but you just gotta do what makes you feel comfortable, and if you feel comfortable and confident, that’s pretty much it.

What’s next for you? Just Mercy is probably the next film I have coming up. It’s a story about Bryan Stevenson. He’s a defense attorney from Alabama. He started this coalition called The Equal Justice Initiative. He represents wrongly convicted inmates that are on death row and tries to get them exonerated from the death penalty. I adapted the book, Just Mercy, into a biopic and so the book is the story of his most memorable cases and the movie takes place around a few of those. He’s a really important man. He’s alive and well and still fighting the good fight, and he’s one of those special humans that the world is definitely a much better place having him here. Jamie Foxx, Brie Larson, O’Shea Jackson—we have a really nice, well-rounded cast. It’s my first project that I produced under my inclusion rider over at Warner Brothers, which I’m really excited about. I’m really happy that the studio got behind me on that one and really made that happen because I think it’s going to set a precedent across the board of what studios follow their lead. I think people are going to enjoy it and it’s going to make a real impact.

Source: Forbes

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Oscars: Ghana Selects ‘Azali’ for International Feature Film Category.

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Kwabena Gyansah's story of a teenaged girl's escape from an arranged marriage to a 70 year-old farmer is the African country's first ever Oscar submission.
Ghana has selected Kwabena Gyansah's Azali as its submission for the international feature film category at the 2020 Oscars.

Starring Asana Alhassan in her debut role, the film follows the journey of 14 year-old Amina from a village in Northern Ghana to the slums of the bustling capital, Accra.

Amina escapes her impending marriage to a 70-year-old farmer but finds herself on a truck being trafficked to Burkina Faso. A cruel twist of fate sees her rescued from the truck but flung into the bustling city of Accra. Amina has to choose between surviving in Accra and returning to her village and marriage.

Written by Gwandellen Quartey and directed by Kwabena Gyansah, Azali is produced by Ananse Entertainment with support from Motion Revolution, both Ghanaian companies.

It is the first time Ghana has submitted a film to the Oscars, although the country has recently become a production hub for international productions, including Beast of No Nation, Forgiving Earth and the upcoming USA network television show Treadstone Starring Jeremy Irvine.

Professor Linus Abraham, chair of Ghana's Oscar selection committee, told said: "Azaliis a consciousness raising film [and] we are very honored that for the first time, Ghana has found a film worthy enough to represent it at the 92nd Oscars. This has been a long time coming and it is a testament to the growth of the Ghana film industry. We believe this will enhance the image of Ghanaian films and encourage more co-productions and quality filmmaking."

Ghanaian-American filmmaker, Leila Djansi who serves as an advisor to the Ghanaian selection committee, told The Hollywood Reporter that language and resources had historically been major obstacles to the growth of the Ghanaian film industry.

"In a country with diverse languages, marketing your film is easier if it’s in English because that’s the official language of the country and majority of the continent, which has stifled a lot of voices.

"Foreign film markets have not had interest in African films beyond those that show war, extreme poverty or white saviors and this also largely limited the creative voice and of course, income. But things seem to be changing as more Africans embrace their local dialects. This will strengthen the identity of African cinema.”

The 92nd Academy Awards take place on February 9, 2020.

Source: Hollywood Reporter

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Jennifer Lopez Stripper Film ‘Hustlers’ Banned In Malaysia

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A film about scheming strippers starring Jennifer Lopez has been banned in Malaysia because of its "excessive obscene content".

The country's film censorship board said Hustlers' naked breasts, erotic dances and scenes featuring drugs made it "not suitable for public screening".

Square Box Pictures, the company distributing Hustlers in Malaysia, confirmed the ban on social media.

The film is currently riding high in both the US and UK box office charts.

Pole dancing in film role 'hardest thing' for J Lo
In Hustlers, a group of exotic dancers set out to fleece their wealthy clients.

The film, which also stars Constance Wu and Julia Stiles alongside Lizzo and Cardi B in smaller roles, is based on a true story and was inspired by a New York Magazine article that went viral in 2015.

The BBFC (British Board of Film Classification) gave the film a 15 certificate due to its "sexualised nudity, strong sex references, language [and] drug misuse".

Earlier this year gay sex scenes in Rocketman were censored in Malaysia ahead of the Elton John biopic's release there.

Scenes were also removed from the film in Russia, while it received an outright ban in Egypt, Samoa and the Cook Islands.

Source: BBC News

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A New Netflix Docuseries Heads Inside Bill Gates’ Brain, But It Keeps Getting Sidetracked.

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Software magnate Bill Gates is one of the most famous people in the world, but the public barely knows him. Gates has been a household name for decades for two reasons: he was the face of Microsoft during an era when the company’s products became ubiquitous, and, perhaps more notably, he’s very, very rich. Yet, he’s never been the kind of celebrity whose personal life and political opinions are splashed across the tabloids and social media. And unlike the late Steve Jobs — his contemporary and occasional rival — Gates is rarely discussed in terms of some ineffable mystique.

The title of Davis Guggenheim’s three-part Netflix documentary Inside Bill’s Brain: Decoding Bill Gates (which debuts on Friday, September 20th) speaks to its subject’s opacity. What makes one of the world’s wealthiest people tick? What formed him? How did he come to dominate a fiercely competitive industry so thoroughly that the US government sued Microsoft under antitrust statutes?

Guggenheim gets into all that… sort of. Over the course of nearly three hours, Inside Bill’s Brain covers the basics of Gates’ life: his childhood, education, Microsoft stewardship, marriage to his wife Melinda, and the charitable foundation they co-manage.

At times, though, it seems like the Bill & Melinda Gates Foundation is this doc’s real subject. Each episode of Inside Bill’s Brain focuses on one of the foundation’s major initiatives: improving sewage conditions in developing countries, eradicating polio, and developing a cleaner, safer form of nuclear power. Each of the three parts shifts rapidly between interviews, biographical material, and fly-on-the-wall footage of the Gates team’s philanthropic missions. Guggenheim eschews traditional transitions, and instead jumps from subject to subject, even when there’s no clear connection between them.

The point, apparently, is to replicate Bill Gates’ thought processes. Having spent most of his adult life (and even some of his teenage years) juggling multiple complicated projects, Gates doesn’t have the kind of mind that functions in neat, straight lines. At one point, Melinda even laughs at this series’s title, saying that her husband’s brain is as cluttered and chaotic as the cheap apartment he once shared with Paul Allen when the two were building Microsoft.

Guggenheim’s approach is frequently frustrating. The director has multiple worthwhile stories to tell here, which may explain why Inside Bill’s Brain is being released as a series rather than as a feature film. (Another reason: Netflix seems to favor the multipart format over a single movie.) But whenever one of those stories starts to build some narrative momentum, the doc skips to another, and then to another, and then back again. Inside Bill’s Brain often feels more superficial than it actually is because it switches topics so freely.

Given what the series’s title promises, viewers may also be disappointed that so much of Inside Bill’s Brain is about his charity work, not about his life, personality, or beliefs. But that really shouldn’t be surprising to anyone familiar with Guggenheim’s other documentaries. He won an Oscar for An Inconvenient Truth, his film about former Vice President Al Gore’s efforts to educate the world about climate change. He also made Waiting for “Superman” about the flaws in the American public school system, and He Named Me Malala about Malala Yousafzai, the Nobel-winning Pakistani advocate for women’s rights. Guggenheim has a history of using his work as a form of social advocacy.

He isn’t turned off by wonky details, either. Inside Bill’s Brain risks losing its audience with its first episode, which keeps the Gates biography to a minimum, and instead dedicates a lot of its run time to various designs for better public toilets that are meant to improve the water supply in poorer villages and neighborhoods. The episode demands some fascination with plumbing and a high tolerance for images of fecal matter — both in graphic video footage and in the animated illustrations Guggenheim uses throughout the series.

If Netflix subscribers only have time to watch one Inside Bill’s Brain episode, they should pick the second, which comes closest to doing some “decoding.” The scenes dealing with Gates’ philanthropy largely take a back seat to reflections on the most significant decade of his life. In the 1970s, he and his high school classmate Paul Allen began making money with their programming skills and started talking about plans to develop software for the burgeoning personal computer market. Gates dropped out of Harvard in 1975, worried that if he waited until after he graduated to launch Microsoft, he’d arrive too late.

Part two of Guggenheim’s documentary gets into Gates’ preternatural drive to succeed, which, in the early years of Microsoft, had him memorizing license plate numbers in the company’s parking lot to track who was staying late. (A veteran of those days recalls the running joke that Microsoft jobs were “part-time” because employees could choose which 12 hours of the day they wanted to work.) Gates’ obsessive work habits eventually drove a wedge between him and Allen, and the obvious regret he has about how that friendship ending provides some of Inside Bill’s Brain’s more emotional moments.

The third episode could’ve used some of that emotion. The more biographical moments in part three deal with how Bill and Melinda met and married and how Gates handled accusations that he’d turned Microsoft into a monopoly. The billionaire is much more guarded in this set of interviews. He comes to life more in the episode’s other scenes, which have to do with potentially revolutionary ways of generating cheap energy.

In the end, Guggenheim fails to reconcile his competing agendas: to take an up-close and personal look one of this era’s most important cultural figures and to tally all the ways Gates is trying to leave a lasting, positive legacy. It doesn’t help that the director puts so much of himself into the doc, making his conversations with Gates seem like two amiable acquaintances shooting the breeze, rather than like a journalist pushing hard for meaningful answers.

Inside Bill’s Brain does have some fleeting insights into who Gates is and what he’s accomplished — again, mostly in episode two. But there’s a moment in the series where Guggenheim and Gates talk about the latter’s periodic “think weeks” where he goes off the grid with a stack of books and tries to open himself up to new ideas, largely unrelated to his daily work. A more focused version of this docuseries, with the same title and intentions, might’ve started here. Left alone with his thoughts, who is Bill Gates? Maybe someday, a better documentary will answer that question.

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Awards and Ceremoinies

“Before The Vows’’, ” The Burial of Kojo” Bags Nominations At AMMAs 19

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''Before The Vows'' and '' The Burial of Kojo'', directed by US based Ghanaian film directors, Nicole Amartefio and Blitz the Ambassador, respectively, have been nominated for this year's African Movie Academy Awards.
Unike Nicole, who has a webseries ''An African City'' to her directing credit, ''The Burial of Kojo'' is Blitz's debut directional film.

The African Movie Academy Awards scheme is organized to recognize and reward excellene in creativity in Africa.

The Burial Of Kojo
Before The Vows

Check out the list of nominees below;

Efere Ozako Award For Best Short Film

  1. The Fisherman (Ghana)
  2. A Tune of Kora (SENEGAL)
  3. ICYASHA (Rwanda)
  4. NAMOW2018 (KENYA)
  5. Vagabond (GHANA)
  6. Measure of a Woman (SA)
  7. Mma Moeketsi (SA)
  8. Motswakwa (BOTSWANA)
  9. Tonight’s Opening Act (EGYPT)
  10. Hello Rain (NIGERIA)

AMAA 2019 Award For Best Animation

  1. Kitwana Journey – Kenya
  2. Choices – Nigeria
  3. Isolated- Kenya
  4. Afrogames – Burkina Faso AMAA 2019 Award For Best Documentary
  5. Djambar, Sembene the Unsubmissive (Cameroun)
  6. The State Against Mandela (South Africa)
  7. Golden Fish, African Fish (Senegal)
  8. Skin (Nigeria)
  9. Khartoum Offside (Sudan)
  10. Le loups d’or de Balole (Burkina Faso)
  11. Sur Les Traces de Mamani Abdoulaye (Niger)
  12. No Gold For Katsaka (Burkina Faso)
  13. Mother, I am Suffocating, This Is My Last Film About You (Lesotho)

Ousmane Sembene AMAA 2019 Award For Best Film in an African Language

  1. Makeroom (Nigeria)
  2. Mabata Bata (Mozambique)
  3. Rafiki (Kenya)
  4. Bahasha -The Envelope (Tanzania)
  5. Azali (Ghana)

Michael Anyiam Osigwe AMAA 2019 Award For Best Film by an African-Born Director Living Abroad

  1. Julius Amedume - Rattlesnakes
  2. Tosin Coker - Lara and the Beats
  3. Robert O. Peters – Makeroom

AMAA 2019 Award For Best Diaspora Short Film

  1. Bail (UK)
  2. Oath Bound (UK)
  3. Fevah (USA)
  4. I Am Superman (Brazil)

AMAA 2019 Award For Best Diaspora Documentary

  1. Wax Print 1 FABRIC, 4 continent (UK)
  2. The Guardian of No Return (Guadalope)
  3. Dare to Dream (USA/CUBA)
  4. Drugs as Weapons Against Us (USA)
  5. My Friend Fela (Brazil)

AMAA 2019 Award For Best Diaspora Narrative Feature

  1. Nine Nights (UK)
  2. Olympia (USA)
  3. Traffik (US)
  4. Hero (Trinidad and Tobago/Canada)
  5. Sprinter (Jamaica)

AMAA 2019 Award For Best Achievement in Production Design

  1. Redemption (Mozambique)
  2. Rafiki (Kenya)
  3. Ellen, The Ellen Parkies Stories (S. Africa)
  4. Urgent (Morroco)
  5. Burial of Kojo (Ghana)
  6. Sew the Winter to My Skin (S. Africa)
  7. Mercy of the Jungle (Rwanda)
  8. Delivery Boy (Nigeria) AMAA 2019 Award For Best Achievement in Costume Design
  9. Sew the Winter to My Skin (S. Africa)
  10. Light in the Dark (Nigeria)
  11. Rafiki (Kenya)
  12. King of Boys (Nigeria)
  13. Lara and the Beats (Nigeria)
  14. Urgent (Morocco)
  15. Mabata Bata (Mozambique) AMAA 2019 Award For Best Achievement in Make-Up
  16. Makeroom (Nigeria)
  17. Gold Statue (Nigeria)
  18. Veronica’s Wish (Uganda)
  19. Sew the Winter to My Skin (S. Africa)
  20. Before the Vows (GHANA)
  21. Mercy of the Jungle (Rwanda)
  22. The Burial of Kojo (Ghana) AMAA 2019 Award For Best Achievement in Soundtrack
  23. Subira (Kenya)
  24. Mabata Bata (Mozambique)
  25. Farewell Ella Bella (S. AFRICA)
  26. Mercy of the Jungle (Rwanda)
  27. Sew the Winter to My Skin (S. Africa)
  28. Lara and the Beats (Nigeria)
  29. The Delivery Boy (Nigeria)
  30. Redemption (Mozambique)

AMAA 2019 Award For Best Achievement in Visual Effects

  1. Makeroom (Nigeria)
  2. Sew the Winter to My Skin (S. Africa)
  3. Knockout Blessing (Nigeria)
  4. Mabata Bata (Mozambique)
  5. The Delivery Boy (Nigeria)
  6. The King of Boys (Nigeria)
  7. Burial of Kojo (Ghana)

AMAA 2019 Award For Best Achievement in Sound

  1. The Last Victim (S. Africa)
  2. Sew the Winter to My Skin (S. Africa)
  3. Makeroom (Nigeria)
  4. The Delivery Boy (Nigeria)
  5. The Burial of Kojo (Ghana)
  6. Urgent (Morocco)
  7. Mabata Bata (Mozambique)
  8. Redemption (Mozambique) AMAA 2019 Award For Best Achievement in Cinematography
  9. Mabata Bata (Mozambique)
  10. Sew the Winter to My Skin (S. Africa)
  11. Mother, I am Suffocating, This Is My Last Film About You (Lesotho)
  12. Redemption (Mozambique)
  13. Rafiki (Kenya)
  14. Delivery Boy (Nigeria)
  15. The Burial of Kojo (Ghana)
  16. Redemption (Mozambique) AMAA 2019 Award For Best Achievement in Editing
  17. The Delivery Boy (Nigeria)
  18. The Burial of Kojo (Ghana)
  19. The Last Victim (S. Africa)
  20. Rafiki (Kenya)
  21. The Gold Statute (Nigeria)
  22. Diamond in the Sky (Nigeria)
  23. Mercy of the Jungle (Rwanda)
  24. Sew The Winter To My Skin (S. Africa)

AMAA 2019 Award For Best Achievement in Screenplay

  1. The Delivery Boy (Nigeria)
  2. The Last Victim (S. Africa)
  3. Rafiki (Kenya)
  4. Diamond in the Sky (Nigeria)
  5. Gold Statute (Morocco)
    6 Lara and the Beats (Nigeria)
  6. Redemption (Mozambique)
  7. Up North (Nigeria) AMAA 2019/National Film and Video Censors Board (NFVCB)Award For Best Nigerian Film
  8. The Delivery Boy
  9. Lara and the Beats
  10. Makeroom
  11. King of Boys
  12. Gold Statute
  13. Up North
  14. Knockout Blessing AMAA 2019 Award For Best Young/Promising Actor
  15. Youssef Alaoui (Ayoub) URGENT
  16. Angel Onyinyechi Unigwe (Adaeze) LIGHT IN THE DARK
  17. Cynthia Dankwa (Esi) BURIAL OF KOJO
  18. Emilio Bilo (Azarias) Mabata Bata
  19. Jamma Ibrahim (Amir) The Delivery Boy
  20. Catherine Credo (Neema) Fatuma

AMAA 2019 Award For Best Actor in a Supporting Role

  1. Remilekun “Reminisce” Sarafu (Makanaki) King of Boys
  2. Jarrid Geduld 9 (Abie) Ellen, The Ellen Parkies Story
  3. Zolisa Xaluva (Wyatt Earp) Sew the Winter to my Skin
  4. Kanayo O. Kanyayo (Chief Otuekong) Up North
  5. Kobina Amissah-Sam (Kwabina) The Burial of Kojo
  6. Bucci Franklyn (Dagogo) Knockout Blessing AMAA 2019 Award For Best Actress in a Supporting Role
  7. Eniola Shobayo (Vivian) Knockout Blessing
  8. Linda Ejiofor (Oby) Knockout Blessing
  9. Kandyse McClure (Golden Eyes) Sew the Winter to My Skin
  10. Adesua Etomi (Kemi) The King of Boys
  11. Joke Silva (Mama Jumoke) Light in the Dark
  12. Arlete Bombe (Mia) Redemption AMAA 2019 Award For Best Actor in a Leading Role
  13. Gabriel Afolayan Gold Statue
  14. Joseph Otsiman (Kojo) The Burial of Kojo
  15. Chinedu Ikedieze (Big Chi) Lara and the Beats
  16. Jimmy Jean Louis (Robert McQueen) Rattlesnakes
  17. Gil Alexandre (Bruno) Redemption
  18. Marc Zinga ( )Mercy of the Jungle)
  19. Ezra Mabengeza (Samson) Sew The Winter To My Skin
  20. Ayoub Bombwe ( Mwanyusi ) Fatuma

AMAA 2019 Award For Best Actress in a Leading Role

  1. Sheila Munyiva (Ziki) Rafik
  2. Rita Dominic (Jumoke Arinze) Light in the Dark
  3. Jill Levenberg (Ellen) The Ellen Parkies Story
  4. Beatrice Taisamo (Fatuma) Fatuma
  5. Seyi Shay (Lara) Lara and the Beats
  6. Sola Sobowale (Eniola) King of Boys
  7. Jemima Osunde (Nkem) The Delivery Boy
  8. Samantha Mugatsia (Kena) Rafiki

AMAA 2019 Award For Best Director-First Feature Film

  1. Blitz Bazawule - The Burial of Kojo (Ghana)
  2. Adekunle “Nodash” Adejuyigbe - The Delivery Boy (Nigeria)
  3. Sippy Chadha – Subira (Tanzania)
  4. Nicole Amarteifo – Before the Vows (Ghana)

AMAA 2019 Award For Best Director

  1. Wanuri Kahui – Rafiki (Kenya)
  2. Adekunle “Nodash” Adejuyigbe - The Delivery Boy (Nigeria)
  3. Daryne Joshua -Ellen, The Ellen Parkies Story (S. Africa)
  4. Jahmil X. Qubeka - Sew the Winter to My Skin (S. Africa)
  5. Kemi Adetiba – King of Boys (Nigeria)
  6. Mohcine Besri – Urgent (Morocco)
  7. Mickey Fonseca – Redemption (Mozambique)
  8. Joël Karekezi- Mercy of the Jungle (Rwanda)

AMAA 2019 Award For Best Film

  1. Rafiki (Kenya)
  2. Mercy of the Jungle (Rwanda)
  3. The Delivery Boy (Nigeria)
  4. Ellen, The Ellen Parkies Story (S. Africa)
  5. Sew the Winter to My Skin (S. Africa)
  6. Redemption (Mozambique)
  7. King of Boys (Nigeria)
  8. Urgent (Morocco)
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