Film and TV

Matabeleland
“Matabeleland” Review: Nyasha Kadandara’s Documentary Contends With Zimbabwe’s Troubled Past

Through the history of southwestern Zimbabwe, and the lives it has fractured, Matabeleland becomes a…

Amel Guellaty
“Making a Film Anywhere in Africa Is a Struggle”: In Conversation With Tunisian Filmmaker, Amel Guellaty, Director of “Where the Wind Comes From”

“Tunisia occupies both a central and marginal place in contemporary conversations about African politics and…

Ms. Kanyin
“Ms. Kanyin” Review: Jerry Ossaiʼs Wannabe Horror Flick is Forgettable

Ms. Kanyin reflects the current state of Nollywood’s horror ambitions: bold ideas, impressive technical strides…

sexual violence
Dear Nollywood, Stop Using Sexual Violence as a Plot Device

There is a way to portray sexual violence onscreen, even in Nollywood, and that way…

The Moral High Court
“The Moral High Court” Review: Chisom Ifeakandu’s Film Puts Patriarchy on Trial

What The Moral High Court does offer is sincerity: a brutal honesty about how Nigerian…

cinematographer-director
20 Prolific Cinematographer-Director Collaborations in Nollywood

As far as Nollywood is concerned, there’s a growing number of directors who have consistently…

Inside Job
“Inside Job” Review: Jacky Vike and Mammito Eunice Find Kenya’s Laugh Lines and Its Pain Points

The ability to toggle between levity and gravity lends Inside Job a rare authenticity: a…

Geoblocking
How Geoblocking and Cinema Scheduling Bias Undermine Distribution in Nollywood

It becomes clear that while geoblocking is a significant barrier to Nollywood’s global reach, cinema…

My Mother Is a Witch
“My Mother Is a Witch” Review: Niyi Akinmolayan Explores Intergenerational Trauma in Provocative Drama

My Mother Is a Witch is one of Niyi Akinmolayan’s most decent endeavours, with strong…

Red Circle
“Red Circle” Review: Akay Mason’s Energetic Thriller Delivers on Its Ambitions

Everything in Red Circle is intentionally designed to trigger a reaction. And even where the…