Madagascar, nowadays. Kwame, 20, struggles to make a living in the clandestine sapphire mines. An unexpected event takes him back to his hometown. As he reunites with his mother and old friends, he finds himself confronted with the rampant corruption plaguing his country. He will have to choose between easy money and loyalty, between individualism and political awakening.
"The Return" deals with rural exodus, the return to the land, the antagonism between two worlds: that of urban dwellers and of the rural areas deeply rooted in tradition. Ranaivo lives in Antananarivo. To make ends meet, he sells ice lollies. his father, Ratovo, comes to the capital to ask for his son’s help. he needs money to organize the turning of the dead ceremony. After the village celebration, Ranaivo decides to leave the capital and emigrates to the highlands where everything is open to those who want to get back to the land.
Tabataba tells the story of a small Malagasy village during the independence uprising which took place in 1947 in the south of the country. For several months, part of the Malagasy population revolted against the French colonial army in a bloody struggle. The repression in villages that followed was terrible, leading to fires, arrests and torture. Women, children and the elderly were the indirect victims of the conflict and suffered particularly from famine and illness. One leader of the MDRM Malagasy Party, which campaigns for the independence of the country, arrives in a village. Solo (François Botozandry), the main character, is still too young to fight but he sees his brother and most of the men in his clan join up. His grandmother, Bakanga (Soavelo), knows what will happen, but Solo still hopes his elder brother will return a hero. After months of rumours, he sees instead the French army arrive to crush the rebellion.
Two brothers in Madagascar have to repair their father's car before they get caught.
Portrays the far-from-average life of a Malagasy character in a humorous way, with suspense, fights, comedy, and adventures.
A young man, barely entering the world of adults, feels lost in the modern prison of cities, houses and buildings and their system of complex bureaucracy and false meritocracy. Aspiring to a simpler life far from the masses and their madness, he will try to leave everything...
The Malok’Ila Zeparsa movie, while introducing new faces, remains faithful to the original spirit of the series. Among those new characters, Rajao Junior, bringing a new dynamic to the story as a courageous orphan, aged around 12 years old. His character, true spiritual heir of Rajao, combines comedy and intelligence, positioning himself as the ideal sidekick of the protagonist. Through a touching narration of daily life, the tribulations of adolescence and family dynamics, the film transports us to varied settings, from Nosy Be to Ankadivoribe, from Antananarivo to Bongolava.
Fourth instalment of the franchise, focusing on the troubles involving Johary, Bakoly and Landy.
Ninth instalment of the franchise.
Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.
Seventh instalment of the franchise.
Haingo, a young single mother from Madagascar, struggles to pay the school fees of her six-year old daughter. A dance company proposes her a contract for a trial period. Haingo grabs this chance, leaves her family and moves to the capital city, Tananarive. She has only a few days to learn a choreography that is completely new to her.
Tenth instalment of the franchise which portrays the far-from-average life of a Malagasy character in a humorous way, with suspense, fights, comedy, and adventures.
Third instalment of the franchise, following the life of Rajao and Randrenja's families.
Fifth instalment of the franchise.
Eleventh instalment of the franchise.
Twelfth instalment of the franchise in which the main characters find themselves in a western-esque premise.
