Film and TV

African cinema
African Cinema’s Long Road to Freedom

African cinema can be regional, sure, just like any other cinema. But it is also…

The Almajiri
“The Almajiri” Review: Jammal Ibrahim’s Debut Asks Difficult Questions About Education, Faith, and Northern Nigeria’s Future

Perhaps The Almajiri’s greatest achievement is that it refuses simplistic answers to deeply complicated questions.…

Nollywood
How Contemporary Nollywood Uses Humour to Both Expose and Excuse the Politics of Marriage

Nollywood is mostly at its best when it deploys humour to laugh at retrograde values…

Agesinkole: King of Thieves 2
“Agesinkole: King of Thieves 2” Review: Femi Adebayo’s Yoruba Epic Has the Architecture of Greatness But an Overwritten Screenplay

Agesinkole: King of Thieves 2 is an unusual sequel. It succeeds more as an act…

arthouse
Arthouse vs. Indie: What’s the Difference?

Independent cinema tells us about the conditions under which a film was made. Arthouse cinema…

Remi & Nneoma
“Remi & Nneoma” Review: A Biblical Retelling That Honours Its Source and Flinches From Its Own Boldest Possibilities

The truest adaptation is not the most faithful one but the most alive one. Remi…

arthouse
Why Nigerians Call Every Festival Film Arthouse

The Nigerian usage of arthouse is less an error than an adaptation. It is a…

arthouse
What Makes a Film Arthouse?

If history demonstrates anything, it is that arthouse has never been a label with rigid…

Andy Mundy-Castle
“Hope is a Tool of Resistance”: In Conversation with Andy Mundy-Castle on “Shoot the People” and the Ethics of Bearing Witness

“I just think it is vitally important not to forget the past if we want…

On Different Grounds
“On Different Grounds” Review: Mildred Okwo Returns with a Hearty, Veteran-Led Rom-Com

On Different Grounds has the character of a Nollywood film elevated by the spirit of…