Film and TV

Achille Ronaimou
In Conversation: Achille Ronaimou on “Diya”, Confronting Tradition, Justice, and Forgiveness in Chad

“I am the one who takes the little stories from friends in the neighborhood and…

Zamo Mkhwanazi
TIFF 2025: In Conversation With Zamo Mkhwanazi, Director Of “Laundry”

“The notion of resistance always having to be loud, glorious, and heroic comes from the…

The Serpent’s Gift
“The Serpent’s Gift” Review: Kayode Kasum’s Film Is Undone by Shallow Cultural Detail

If The Serpent’s Gift had one lesson for Nollywood, it would be that cultural truth…

Nomad Shadow
TIFF 2025: Eimi Imanishi’s “Nomad Shadow” Deftly Navigates the Intricacies of Exile

Nomad Shadow excavates the personal costs of political displacement with an intimacy that cuts through…

Diya
TIFF 2025: Achille Ronaimou’s “Diya” Confronts The Brutal Arithmetic Of Justice And Retribution

Diya is a morally complex drama that interrogates the collision between ancient customs and modern…

Say Who Die
“Say Who Die?” Review: Paul Utomiʼs Film Crumbles Under the Weight of its Own Ambition

Style without story is a hollow exercise, and Say Who Die? ultimately exposes Nollywood’s recurring…

NIFS
NIFS Dispatch: 5 Key Takeaways from the 2025 Nigerian International Film Summit

From the recurring question of whether Nigerians watch Nollywood, to the retreat of global streaming…

Sin
“Sin: First Blood” and “Sin: Blackout” Review: The Irredeemable Failure of Jim Iyke’s Big-Budget Crime Thriller Wannabe

Sin, desperate as it is to be seen as a proper high-stakes thriller, is a…

Marketing
Noise or Attention: What Really Sells Nollywood Films?

What separates fleeting attention from lasting impact is not merely scale, spectacle, or formula, but…

Out in the Darkness
“Out in the Darkness” Review: Sarah Kwaji’s Film Feebly Explores Postpartum Health

Beyond just spotlighting postpartum psychosis, Out in the Darkness rightly wants to aid the audience’s…