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Haile Gerima (screenplay)
View company contact information for Teza on IMDbPro.
Release Date:
28 November 2008 (Poland) See more »
The Ethiopian intellectual Anberber returns to his native country during the repressive totalitarian... See more » | Full synopsis »
8 wins & 2 nominations See more »
User Reviews:
Extraordinary film about war and society See more (6 total) »


  (in credits order)
Aaron Arefe ... Anberber
Abiye Tedla ... Tesfaye
Takelech Beyene ... Tadfe
Teje Tesfahun ... Azanu
Nebiyu Baye ... Ayalew
Wuhib Bayu ... Abdul
Araba E. Johnston Arthur ... Cassandra (as Araba Evelyn Arthur-Johnston)
Veronika Avraham ... Gabi
Mengistu Zelalem ... Anberber as a child

Directed by
Haile Gerima 
Writing credits
(in alphabetical order)
Haile Gerima  screenplay

Produced by
Philippe Avril .... producer
Karl Baumgartner .... producer
Marie-Michèlegravele Cattelain .... producer
Haile Gerima .... producer
Johannes Rexin .... line producer
Original Music by
Vijay Iyer 
Jorga Mesfin 
Cinematography by
Mario Masini 
Film Editing by
Haile Gerima 
Loren Lillian  (as Loren Hankin)
Production Design by
Seyum Ayana 
Patrick Dechesne 
Alain-Pascal Housiaux 
Production Management
Viola Fügen .... post-production supervisor
Sound Department
Umbe Abduraman Adan .... sound
Ambessa Jir Berhe .... boom operator
Nicole Graul .... foley editor
Nils Kirchhoff .... foley mixer
Thomas Knop .... additional sound re-recording mixer
Stephan Konken .... sound re-recording mixer
Stephan Konken .... supervising sound editor
Martin Langenbach .... sound
Amedeo Malagia .... sound recordist
Simone Weber .... second sound assistant
Camera and Electrical Department
Rafael Jeneral .... first assistant camera
Costume and Wardrobe Department
Genoveva Kylburg .... assistant costume designer
Editorial Department
Ambessa Jir Berhe .... assistant editor
Yohannes Gerima .... assistant editor
Other crew
Mesereta Argaw .... production coordinator
Cedric L. Beasley .... consultant: marketing and distribution
Stephan Krahwinkel .... production assistant
Michelle Materre .... consultant: marketing and distribution
Marzia Milanesi .... publicist
Tobias Schmitz .... production staff

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Morning Dew" - International (English title) (alternative title)
See more »
140 min | Canada:140 min (Toronto International Film Festival)
Sound Mix:


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1 out of 1 people found the following review useful.
Extraordinary film about war and society, 14 January 2015
Author: ian-malcolm rijsdijk from Cape Town, South Africa

An extraordinary film, dense and lyrical, sharply political and deeply personal. As in Sankofa, writer/director Haile Gerima moves between several worlds - not just 'Africa' and the Ethiopian diaspora in Europe, but also (as another reviewer has noted) between Ethiopias and Europes, temporally and geographically.

At times, these worlds merge effortlessly together; however, in certain scenes, the acting and staging seem rather stilted. For example, I found the Ethiopian scenes were always compelling, while some of the German scenes had characters merely saying their lines.

Gerima's use of flashbacks and flashfowards helps to weave together many narrative strands, not just the political commentary about Ethiopia's traumatic period under the rule of Mengistu. There is a genuine sense of optimism and celebration from the young Ethiopians (including Anberber and his best friend Tesfaye) as the rule of Selasie comes to an end tempered by the terrifying consequences for both men of their idealism and pragmatism, respectively. There is also a narrative of orphans, young men left parentless because of the civil war and Ethiopia's conflicts with Italy. In fact, the closing scene reminds me a lot of Rossellini's Rome, Open City. There is the subtle and not-so-subtle racism experienced by Ethiopians living in a Germany that moves, not unproblematically, from division to unification. There is the painful disintegration of family, seen in Anberber's relationship with is mother and brother, and their position within the community of the village.

Most tellingly, Gerima's nuanced look at patriarchy and politics in the metropolis and the countryside in Ethiopia provides tremendous context for the brutal armed conflict that erupts unexpectedly throughout the film.

And yet this is also an extraordinarily beautiful film with passages of bright hope and love. Gerima may be withering in his critique of various political systems, but he is not defeated by them. This is what makes Teza such a human film, one of best films I have seen about war and society.

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