Film and TV

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…

Devil is a Liar
“Devil is a Liar” Review: Moses Inwangʼs Film Lies About the Story It Is Telling

The execution of Devil is a Liar is formulaic, recycling tropes we have seen countless…

Finding Nina
“Finding Nina” Review: Nemsia Studios Makes a Soulless Pitch for Positive Portrayals of Northern Nigeria

If Finding Nina were simply the romance drama that it is so focused on being,…

Cordelia
“Cordelia” Review: Tunde Kelani’s Return to Cinemas is an Ambitious but Inconsistent Adaptation

For all its polish, Cordelia is ultimately a quiet film about a loud era, and…

PLS RT
“PLS RT” Review: Ifeanyi Barbara Chidi’s Film Brings Urgency to Nigeria’s Kidnapping Crisis

Through PLS RT, Chidi has made a film that insists on seeing kidnapping victims not…

Zikoko Life
“Zikoko Life” Review: The Unwavering “Female Happiness” Agenda of BluHouse and Big Cabal’s Anthology Series

The agenda is clearly female autonomy. Zikoko Life goes beyond acknowledging women’s vulnerabilities and struggles,…

Marked
“Marked” Review: The South African Netflix Series Is a Devastating Portrait of Moral Desperation

At its core, Marked is a quietly radical work. It asks not just how far…

Afolabi Olalekan
“None of Us Is Immune”: In Conversation with Afolabi Olalekan and Blessing Uzzi, Director and Producer of “Freedom Way”

“I’m really hoping that it’s a film that people will watch and come out with…