King Ampaw

Asante, a hearse driver in Ghana, wants a wife. His profession puts most women off. He falls in love with a client whose mother has died, and manages to win her over. But her father forbids marriage to a hearse driver. Asante persists and becomes the first hearse driver in Accra to get married.

Asante, a hearse driver in Ghana, wants a wife. His profession puts most women off. He falls in love with a client whose mother has died, and manages to win her over. But her father forbids marriage to a hearse driver. Asante persists and becomes the first hearse driver in Accra to get married.

Asante, a hearse driver in Ghana, wants a wife. His profession puts most women off. He falls in love with a client whose mother has died, and manages to win her over. But her father forbids marriage to a hearse driver. Asante persists and becomes the first hearse driver in Accra to get married.

Un temible bandido del siglo XIX, Cobra Verde atraviesa Brasil hasta llegar a la plantación de azúcar de Don Octávio Countinho. Sin saber que su nuevo invitado es el famoso bandido e impresionado por sus maneras despiadadas, Don Octávio contrata a Cobra Verde para supervisar a sus esclavos. Pero cuando Cobra Verde impregna a las tres hijas de Don Octávio, el dueño de la plantación enfurecida exilia al forajido a África, donde se espera que vuelva a abrir la trata de esclavos. Después de su viaje transatlántico, Cobra Verde explota los conflictos tribales para tomar una fortaleza abandonada y azota a un ejército de guerreros desnudos en una sed de sangre frenética mientras compite por sobrevivir.

Making-of documentary that covers "Cobra Verde," Herzog's last film with Kinski before Kinski's death. This is the documentary that registers the behind the scenes moments of "Cobra Verde", the last project that united director Werner Herzog to actor Klaus Kinski. The notorious and infamous relation between the two filled Cinema theatres with masterpieces, but also filled pages of Cinema History with mutual declarations of both love and hate.

A comic tale about a stubborn village elder who resists slipping gently into retirement. Directed by King Ampaw.

Addey is a lorry driver and an industrious family man who makes ends meet by plying his trade between Accra, the capital city, and his village , Kukurantumi. When he loses his job for reasons beyond his control, he plots a marriage between his daughter, Abena, and an affluent businessman but she refuses the union because she loved another. Abena disobeys her father Addey and, with Bob, the poor young man she loves, elopes to Accra where things worsen.

Addey is a lorry driver and an industrious family man who makes ends meet by plying his trade between Accra, the capital city, and his village , Kukurantumi. When he loses his job for reasons beyond his control, he plots a marriage between his daughter, Abena, and an affluent businessman but she refuses the union because she loved another. Abena disobeys her father Addey and, with Bob, the poor young man she loves, elopes to Accra where things worsen.

A comedy directed by Ulli Lommel.

Paul (William Donald Powell), a former American GI gets by as lead singer of a band in the wake of the 1968 cultural revolution in Munich. Paul’s monotonous life plays out between the hotel bar, his adjacent studio apartment, and the rare night out on the town or a visit to the suburbs. Director King Ampaw's thesis film at the University of Television and Film Munich is the second film by an African filmmaker to be shot in Germany (the first being Ibrahim Shaddad’s “Jagdpartie” in 1964).

Paul (William Donald Powell), a former American GI gets by as lead singer of a band in the wake of the 1968 cultural revolution in Munich. Paul’s monotonous life plays out between the hotel bar, his adjacent studio apartment, and the rare night out on the town or a visit to the suburbs. Director King Ampaw's thesis film at the University of Television and Film Munich is the second film by an African filmmaker to be shot in Germany (the first being Ibrahim Shaddad’s “Jagdpartie” in 1964).

"The film starts with a shot of a cassette recorder, and it has a juke box in it. There’s always music in it. When I was asked by some critics at a festival press conference what the film was all about, I said 'it’s about the song All Along The Watchtower, and the film is about what happens and what changes depending on whether the song is sung by Bob Dylan or by Jimi Hendrix.'" Well, both versions of the song appear in the film, and everybody thought I was pretty arrogant to explain the story this way. But the film really is about the difference between the Dylan version of All Along the Watchtower, and the Jimi Hendrix Version. One is at the beginning and one is at the end." – Wim Wenders

Ampaw's film explores the challenges of Black people in Germany’s housing sector, creatively documenting landlords’ responses to the question of whether they would rent to a Black tenant, which range from explicitly racist takes to well-meaning, problematic clichés.