NollywoodWeek: Nollywood has drawn sustained criticism for its reductive portrayals of women. This tendency emerges from a convergence of socio-cultural frameworks—particularly established patriarchal norms—and external narrative inheritances traceable to Classical Hollywood Cinema, privileging archetypal characterization […]
NollywoodWeek: Romance, in Nigerian cinema, is often mistaken for ease. It is treated as a genre that requires little or no more than nearness and sentiment—two beautiful people, a mild obstacle, an expected resolution. Yet […]
Michael Ndiomu alludes to the concept of “cinema faces”—peculiar figures whose presence alone can summon footfall to the cinema—through the character Erastus Okpanachi in his feature directorial debut, Headless. As I sat in my empty […]
Berlinale: It is in the final moments of Jeremy Comte’s first feature that he renders the moments giving the film its title, in lyrical realism. “…it burns,” our one-hand protagonist — far from his Quebec […]
The Nollywood horror genre has declined over the years. This can be attributed to a combination of moral and religious panic, alongside the industry’s formulaic mode of operation. Over time, Nollywood has found other formulas […]
The almost absent representation of mental health in our films reflects our collective social and cultural ideologies concerning the topic. People struggling with psychological challenges are often labelled as confused, mad, or even possessed. At […]
“Aiyé l’òjà, ọ̀run n’ilé” is a lifelong Yorùbá adage that translates to ‘life is a marketplace, home lies beyond (heaven). It reflects on the transient nature of existence; life is full of trade-offs, people come […]
In 2022, Derin Adeyokunnu and B.B. Sasore’s Nemsia Studios announced a three-picture slate deal with Prime Video. The first, B.B. Sasore’s Breath of Life (2023), became an audience favourite, securing five major awards at the […]
