Film and TV

NollyTube
Nollywood Needs NollyTube, But Does NollyTube Need Our Brains to Be Turned Off?

Nollywood needs NollyTube, regardless of the merits and demerits, or the sustainability of YouTube as…

Labake Olododo: The Warrior Lord
“Labake Olododo” Review: Biodun Stephen’s Yoruba Epic Is a Gender-Flipped Samson-And-Delilah Narrative Starring Iyabo Ojo

In a time when the indigenous epic genre has begun to feel repetitive and forgettable,…

AMVCA
The Biggest Snubs and Surprises of the 2025 AMVCA Nominations

With the awards set to take place on May 10th, the debate over what the…

Finding Me
“Finding Me” Review: Funke Akindele’s Mistitled Dramedy Struggles With an Identity Crisis

Finding Me does not know what it wants to be. Its tone is chaotic, the…

Suky
“Suky” Review: Ola Cardoso’s Prison-Set, Revenge-Themed Sports Drama Is Tepid

As a prison film, Suky is unmoving; as a sports film, it is uninspiring; and…

Omoni Oboli
Omoni Oboli and Nollywood’s Dilemma With Copyright Infringement

What does Oboli’s repeated copyright controversies reveal about the state of copyright protection and infringement…

AMVCA
The Annual AMVCA’s Category Problem: Should TV Productions Be Competing with Films?

If the AMVCA insists on recognising achievement in television, then it’s time to recognise that…

Fine Girl
“Fine Girl” Review: Fatimah Gimsay’s Film Is a Subversive Take On Modern Harassment and Female Empowerment

In a world where privacy is increasingly eroded, Fine Girl is a timely and powerful…

Love, Olaitan
“Love, Olaitan” Review: Moyosore Akinsete’s Short Film Is a Mesmerising Portrait of Love and Loss

Love, Olaitan is a treatise on the bond between father and daughter, but more broadly,…

This Is Love
“This Is Love” Review: Njoku and Nonso’s Documentary Is a Tender Exploration of Queer Nigerian Love and Identity

This Is Love insists on the normalcy of queer relationships, showing that they are not…