Dear reader, help us understand your Nollywood preferences by filling out our audience survey—your input is invaluable and deeply appreciated! Click this link. The epigraph at the pilot episode of Princess On A Hill poses […]
How can Black voices across continents reunify in a world shaped by colonialism and exploitation? This is the central question posed by BLKNWS: Terms and Conditions, an ambitious, experimental documentary by acclaimed visual artist Kahlil […]
We live in volatile times, many are quick to point out. But haven’t we always? There’s always a looming conflict on the horizon or one raging in the background, whether or not it receives media […]
In 2009, when flip phones were still a thing and the world hadn’t been taken over by Instagram and TikToks, Toyin Abraham released the first instalment in the Alakada franchise, which slithered its way into […]
From King of Thieves to Jagun Jagun, House of Gaa and Lisabi, Femi Adebayo is no stranger to the Yoruba language films that have enjoyed mainstream popularity in recent times. His onscreen presence is often […]
After the culmination of the Merry Men series last year (hopefully), Ayo Makun is back with another comedy thriller in The Waiter. Although AY says this film is different from his previous movies, between the […]
In a retrospective I wrote last year, I hailed Isoken as Jade Osiberu’s best film and praised how well it executed its premise: “[this is] a simple romantic story, Russian-dolled in another one about self-confidence, […]
From December 10th to 13th, at Alliance Française, Lagos, the S16 Film Festival marked its fourth edition to welcoming embrace. Four years since its genesis (ideated by the S16 Collective trio of Abba T. Makama, […]
The day after Everybody Loves Jenifa had its theatrical release, I went to my local cinema looking to purchase a ticket. The only thing the attendant had to offer, however, was disappointment: “Come back tomorrow. […]
Cinema is a specificity of vision. It’s an approach in which everything matters. It’s the polar opposite of generic or arbitrary and the result is as unique as a signature or a fingerprint. It isn’t […]
Let’s get this out of the way: Suspicion is a terrible title, especially for what turns out to be a good film. Apparently, the film started out as a short released in 2008, titled The […]
When the average Nigerian describes the personnel of the Nigerian military, they would most likely conjure up a fearful image of a camouflage-wearing brute, barking orders that are often reinforced with physical violence and the […]
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 […]
Religions and cultures agree: desperation has a way of becoming spiritual. The woman who cannot bear a child, the man whose mind is poisoned by money; these are not just personal tragedies in Nigerian storytelling, […]
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 […]
Berlinale: There was a time The Critics, more known as The Critics Company, wanted to make comedy skits but with a twist of VFX. They were hoping to create an alternative to the common slapstick […]
Berlinale: Not to get too personal, I have family members across four continents. Over the past five years, we have had at least two weddings and a funeral to attend. Those are the only times […]
Berlinale: African films that are filled with joy at international film festivals are rare. That is why Kenyan filmmaker Wanuri Kahiu’s Afrobubblegum movement is important as more attention turns towards African films. We need to […]
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 […]
Sundance: In Birdie, Praise Odigie Paige evokes an ideal countryside with scenic shots of a home nestled in fields of green and a stream cutting through. There are no neighbours and it is isolated from […]
Sundance: Some film endings comfort. Others provoke and leave us uneasy. Some quietly ask us to act. In these moments, the final frame becomes the film’s last word, the image that follows us out of […]
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 […]
