[1] She is an artist who explores the themes of African cinema while tackling issues surrounding illness such as AIDS, and education for the girl child.

She credits a neighbour for informing her about the film school, Institut d'Education Cinématographique de Ouagadougou (INAFEC), in Burkina Faso.

Nacro credits this collective project, in which she met filmmaker Zeinabu Davis, as her "first cinematographic experience.

[5] Noting that during her education, Nacro had to learn all the different facets of filmmaking, including editing and cinematography, these skills are what helped her start her career in the film industry.

Furthermore, the more Western audiences see African films, the more racist preconceptions will be challenged because the more you know someone, the better you understand his or her aspirations and behaviour.

Although she is first shown to the audience from the male point of view, Nacro soon reverses this objectifying gaze on to Salif and drives the sexual narrative.

Nacro's film encourages female independence and defies many of the traditional power structures that exist between men and women, both in the African and Hollywood contexts.

[1] Nacro has stated that her ideas surrounding the problems of extramarital affairs in Puk Nini came from her male colleagues at Institut d'Education Cinématographique de Ouagadougou (INAFEC).

"[6] This short film directed by Nacro in 1997 depicts the various myths behind condom use, sexuality, AIDS, polygamy and the theme of change in a Burkinabe village.

Once in town, an AIDS campaigner helps him to find the tree as long as Konaté promises to start wearing condoms.

Nacro exhibits the theme of change through a journey that both Konaté and Diénéba must take in order to learn about the issues surrounding the AIDs virus.