Film and TV

Adunni: Ogidan Binrin
AIFF 2025: “Adunni: Ogidan Binrin” Is a Story of Resistance Undone by Its Own Execution

Adunni: Ogidan Binrin is a reminder that even the most righteous revolutions can falter when…

To Adaego with Love
AFRIFF 2025: Nwamaka Chikezie’s “To Adaego with Love” Is a Post-War Romance of Half Measures

To Adaego with Love sets a love story against the pain and horror of the…

Lights Out
AIFF 2025: Enah Johnscott Illuminates the Fragility of Memory and the Fading Architecture of Care in “Lights Out”

Lights Out is not a perfect film; uneven, overly ambitious, and occasionally meandering, but it…

The Herd
“The Herd” Review: Daniel Etim Effiong’s Debut Feature Is Taut and Human

The Herd is a debut that demands attention: not merely for its suspense, but for…

The Milkmaid
The Cuts of Speaking Truth in Nigerian Cinema

Should filmmakers be bound by the constraints of censorship, or should they be free to…

Pasa Faho
AFRIFF 2025: Kalu Oji Reflects on Fatherhood and the Igbo Immigrant Experience in Tender Debut Feature, “Pasa Faho”

What unfolds in Pasa Faho is a delicate story about a father struggling to hold…

Son of the Soil
AFRIFF 2025: “Son of the Soil” Stages a Generic and Unconvincing Revenge Tale on the Streets of Lagos

Nollywood has gone way past decent action scenes. Plot and character development are major areas…

Osamede
“Osamede” Review: James Omokweʼs Film Shines in Language but Falters in Form

Perhaps the tragedy of Osamede is that it understands the importance of its story but…

Finding Optel
“Finding Optel” Review: A Tender, Uneven Portrait of Ordinary Lives and the Quiet Radicalism of Small Stories

At a time when African cinema often feels pressured to either moralise or monumentalise, Finding…

Gingerrr
“Gingerrr” Review: Yemi Morafa’s Film Is a More Chaotic, Less Memorable “Sugar Rush”

Gingerrr is yet another loud Nollywood blockbuster that dies on the altar of excess and…