Film and TV

The Fire and the Moth
“The Fire and the Moth” Review: Taiwo Egunjobi Has Grown in Confidence as a Filmmaker

The Fire and the Moth may not end with a bang, but it lingers—in its…

AMVCA Trailblazer
It’s the Eleventh Edition, and We Still Don’t Know What the AMVCA Trailblazer Award Is

Historically, the AMVCA Trailblazers have been newish or breakout talents who generated a buzz in…

AMVCA
2025 AMVCA: How the Stars Lit up the Night With Style

Here, we spotlight some of the most unforgettable looks of the night; the ones that…

AMVCA
AMVCA 2025: What Are We Really Celebrating?

Does the AMVCA reflect the true diversity and excellence of African cinema, or does it…

Nollywood
14 Prolific Writer-Director Collaborations in Nollywood

In Nollywood, a growing number of writer-director pairings are leaving their mark, not just through…

AMVCA Cultural Day
10 Celebrities Who Slayed the 2025 AMVCA Cultural Day

Every individual at the AMVCA Cultural Day stunned in their traditional attire, turning the event…

Owambe Thieves
“Owambe Thieves” Review: Zubby Michael Is the Only Upside to This Pandemonium of a Movie

There’s a diversity angle to the film that might work if it were much less…

Sinners
The Success of “Sinners” at the Nigerian Box Office: Five Lessons for Nollywood

The success of Sinners can serve as an opportunity to think and take lessons from…

The Masked King
“The Masked King” Review: Uduak-Obong Patrick’s Historical Drama Is Dampened by Its Wobbly Political Consciousness

The Masked King wants to portray a push and pull between traditions and societal change,…

Landline
“Landline” Review: Dele Doherty’s Debut Feature Is Held Back by Its Own Ambition

Landline is an emotionally-charged thriller that takes a bold swing at the time-loop genre, even…