Film and TV

What Do the Maknines Dream Of
MIFF 2026: “What Do the Maknines Dream Of”, “Obi Is a Boy”, and “Whispers of a Burning Scent” Find Beauty in the Difficult Act of Letting Go

Whether contemplating migration, gender identity, or an unconventional romance, What Do the Maknines Dream Of,…

Nollywood
For How Long Can We Sustain This Thing of Ours?: On Bootstrapping and the Current Iteration of Nollywood

Nollywood filmmakers have proven their capacity for innovation under constraint, time and again, but there…

Sarra Ryma
MIFF 2026: In Conversation with Sarra Ryma on Migration, Love, and “What Do the Maknines Dream Of”

“I think cinema has a responsibility to look for the human being behind the law,…

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…