![]() In another, an afternoon with two schoolgirls takes an astonishing turn when a conflict is broadcast to their entire community through Instagram live. In one, a man gone missing - and declared dead by his daughter on social media - reemerges with a renewed sense of faith. Hyperlink, the edition’s centerpiece film, is an anthology of four shorts, directed by South African filmmakers Mzonke Maloney, Nolitha Mkulisi, Julie Nxadi and Evan Wigdorowitz, which examine the risks and perils of the internet and surveillance culture. The program, which was founded in 1993 by Mahen Bonetti, has always showcased eclectic offerings from the continent, but this year, with the theme “free-form,” it’s making this value a particular priority: The more than 50 films - from over 25 countries - featured in the lineup are connected by their unorthodox subjects and forms. It’s fitting that Xalé, which leans into narrative twists and unconventional storytelling methods, will open the 30th anniversary edition of the New York African Film Festival, which kicks off on May 10 and runs through June 1. Their guidance orders the narrative and eases the tension of the film’s formal surprises shifts in tone, time jumps and breaks in the fourth wall operate more smoothly because of them. It’s the last installment in the Senegalese filmmaker’s trilogy about women that includes Tableau Ferraille (1997) and the comedic drama Madame Brouette (2002). The chorus, a staple in Moussa Sène Absa’s films, is particularly useful in Xalé, the director’s passionate thriller about gender violence and retribution. Kenneth Anger, Pioneering Experimental Filmmaker, Dies at 96 ![]()
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