Set in South Africa's rural Great-Karoo region in the 1950s this epic existential-adventure film chronicles the exploits of the outlaw John Kepe and the various individuals his escapades affected. This Robin-hood-esque figure would steal primarily livesto

Set in South Africa's rural Great-Karoo region in the 1950s this epic existential-adventure film chronicles the exploits of the outlaw John Kepe and the various individuals his escapades affected. This Robin-hood-esque figure would steal primarily livesto

Image by Sew the Winter To My Skin

Films from or about Africa, Asia and Latin America at the London Film Festival, from 10 October, include

* BIRDS OF PASSAGE, a sprawling, spiritual exploration of family conflict and tribal warfare, laced with heady symbolism and surrealist flashes. Set during the marijuana bonanza, a violent decade that saw the origins of drug trafficking in Colombia, it's a mystical meditation on colonialism, tribalism and modernism.

* JOY, drama that follows the life of a young Nigerian woman who works the streets to pay off debts to her exploiter Madame, while supporting her family in Nigeria and hoping for a better life for her young daughter in Vienna. 

* TOO LATE TO DIE YOUNG, in the summer of 1990, after Pinochet’s fall, three Chilean youngsters drive up to a woodland commune below the Andes, where they idle the summer away while their parents debate the future. outhful desire, ennui and mischief have rarely felt so tangible. 

* A sumptuous black-and-white ode to the women who shaped his early life, ROMA chronicles a year in the life of a middle-class family in Mexico City in the early 1970s. 

* RAFIKI, Wanuri Kahiu’s tender yet defiant tale of blossoming love between two teenage girls. was banned in its home country of Kenya. It's a tnecessary film and a testament to Kahiu’s unabashed courage, reminding us that there are still pressing LGBTQ+ stories to be told. 

* THE CHAMBERMAID  sees  a young chambermaid at a luxurious Mexico City hotel confront the monotony of long workdays with quiet examinations of forgotten belongings and budding friendships that nourish her newfound and determined dream for a better life.

* THE DAY I LOST MY SHADOW is the moving debut feature of Syrian director Soudade Kaadan. Sana is living with her eight-year-old son while her husband works in Saudi Arabia. A trip to Damascus sees Sana brutally confronted to the devastating effects of war, and the fate of her countrypeople.

* DEAD PIGS, Cathy Yan’s freewheeling, multicultural comedy sees a bumbling pig farmer, a feisty salon owner, a sensitive busboy, an expat architect and a disenchanted rich girl converge and collide as thousands of dead pigs float down the river towards a rapidly-modernisng Shanghai.

* SONI, Idepicts a fresh slice of feminist policing, Indian style, in this drama exploring the solidarity between a fiery female officer and her superior.

* BISBEE ‘17, arresting documentary blending fiction and reality. An old mining town on the Arizona-Mexico border finally reckons with its darkest day: the deportation of 1200 immigrant miners exactly 100 years ago. Locals collaborate to stage recreations of their controversial past.

* DREAM AWAY, a look at the surreal world of Sharm El Sheikh, three years after the Egyptian Revolution of 2011 as a group of hotel staff reflect on their life, hopes and dreams in a deserted Egyptian holiday resort.

* THEATRE OF WAR, innovative documentary revealing the personal stories of both British and Argentinean veterans whose lives were affected by Falklands War, timed to mark the 35th anniversary.

* PAPI CHULO is a tcross-cultural comedy drama in which a heartbroken Los Angeles weatherman tries to fill the void left by his Latino ex-boyfriend by ‘hiring’ a middle-aged migrant worker to be his friend.

* Ali Jaberansari’s TEHRAN: CITY OF LOVE follows three lonely characters looking for romance and connection in the city of Tehran; the film’s pitch-perfect deadpan humour helps paint a picture of the city as you’ve never seen it before. 

* Writer-director Shin Dongseok delivers a devastating debut with LAST CHILD, an emotionally wrenching family drama that heralds a serious new voice in Korean cinema. 

* FREEDOM FIELDS, social documentary set in post-revolution Libya that charts the six-year journey of Libya’s nascent women’s football team as the country descends into civil war. 

* AMRA AND THE SECOND MARRIAGE exposes Saudi cultural hypocrisy with a middle-aged housewife forced to take drastic measures when she learns her husband will take a second, younger spouse. 

* Stand by Me meets Kafka in SUBURBAN BIRDS, Qiu Shen’s dreamy debut, telling the parallel and intertwining stories of an engineer investigating subsidence, and a group of children on an impossible quest.

* Lee Hae-Yeong’s hall-of-mirrors thriller BELIEVER is about a dogged South Korean narcotics officer who tries to smoke out a shadowy drug baron. 

* in SEW THE WINTER TO MY SKIN, thriller that takes us into the heart of pre-apartheid South Africa; a visceral exploration of the colonial displacement that sowed the seeds for one of the most viciously racist, political regimes in history.

* MAYFAIR, a groundbreaking, multi-cultural African gangster thriller where an estranged son must break the rules to save his family and their criminal empire.

* The controversial exploits of baby-faced Argentine serial killer Carlos Robledo Puch are exhilaratingly reinterpreted in Luis Ortega’s stylish biopic EL ANGEL: a true story so eccentric, it could easily be mistaken for fiction.

* Guto Parente’s THE CANNIBAL CLUB sees carnal desires met in a stylish satirical gore extravaganza; Otavio and Gilda are a wealthy couple of the Brazilian elite who feed off their employees.

* Dennison Ramalho’s brutal and bloody THE NIGHTSHIFTER, about a morgue worker who breaks the unspoken code of the dead, with terrifying consequences, is an evocative and idiosyncratic Brazilian chiller.

* MAKI’LA, MacheĢrie Ekwa Bahango’s directorial debut, is a compassionate and acutely observed portrait of the homelessness experienced by young people in Kinshasa.

* In MAYA, Mia Hansen-Løve (crafts a beguiling, India-set road movie about a French journalist recovering from severe PTSD following his abduction in Syria.

* FIVE MEN AND A CARAVAGGIO sees writer and filmmaker Xiaolu Guo deliver another deeply intelligent and idiosyncratic essay, located between contemporary China and post-Brexit referendum London. 

* RUDEBOY: THE STORY OF TROJAN RECORDS, Nicolas Jack Davies’ stylish documentary about the iconic ska, reggae and rock-steady label, is a timely and wide-ranging celebration of British Jamaican working-class youth culture. 

* THE ELEPHANT QUEEN is a documentary, narrated by Chiwetel Ejiofor telling the story of Athena, the Elephant Queen, who leads her family across Africa when drought hits their region.

* In Juan Antin’s authentic animated tale, PACHAMAMA, a young boy living in a remote village in the Andes Mountains dreams of becoming a shaman.  

* Lee Chang-dong’s critically acclaimed BURNING explores obsession, class conflict and suppressed male rage in a masterfully crafted adaptation of Haruki Murakami’s short story Barn Burning.

* Lebanese filmmaker Nadine Labaki’s CAPERNAUM ois a heart-wrenching depiction of life in the shadows. A politically-charged fable, featuring mostly non-professional actors, about a child who launches a lawsuit against his parents. 

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