Mokoari Street

In a society riddled by patriarchy, Mosonngoa embarks on an incisive pursuit to save her father's farm. When all her attempts fail, she enters a stick-fighting competition - against all odds.

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. ‘Mother, I Am Suffocating. This is My Last Film About You’ is a symbolic social-political voyage of a society, spiralling between religion, identity and collective memory. “I saw in you what they saw, mother. You deserve your war”.

Lemohang Jeremiah Mosese’s This Is Not a Burial, It’s a Resurrection follow-up Ancestral Visions of the Future is described as being “a deeply personal exploration of identity, childhood, and death,” continuing a running theme in Mosese’s work of wrestling with his childhood in Lesotho and his exile to Germany.

An itinerant preacher proclaims to people that their god is in the very coffin he is dragging along.