Un Certain Regard keeps producing the festival's most urgent work, which says something about where Cannes files it.
Congo Boy, directed by Rafiki Fariala, and Ben'Imana, directed by Marie-Clémentine Dusabejambo, both from Un Certain Regard, emerged with accolades.
While Western critics continue to treat African cinema as an exotic curiosity, Congo Boy and Ben'Imana's double victory at Cannes proves what the continent has long known: our stories don't need European validation to be exceptional, but when we claim their most prestigious stages, it's a masterclass in how to own the narrative. The fact that both films emerged from Un Certain Regard, not the main competition, reveals how Cannes still struggles to position African excellence, even as our filmmakers consistently deliver the festival's most urgent and authentic voices.
While Western critics continue to treat African cinema as an exotic curiosity, Congo Boy and Ben'Imana's double victory at Cannes proves what the continent has long known: our stories don't need European validation to be exceptional, but when we claim their most prestigious stages, it's a masterclass in how to own the narrative. The fact that both films emerged from Un Certain Regard, not the main competition, reveals how Cannes still struggles to position African excellence, even as our filmmakers consistently deliver the festival's most urgent and authentic voices.
SUMMARY BY STRATA-AF™ · ORIGINAL REPORTING BY AFROCRITIK
READ THE SOURCE REPORT FROM AFROCRITIK →Enjoying Strata-AF™?
Sign in or sign up for a personalised feed and unlock Strata-AF™ Originals.
