Film and TV

AMVCA
AMVCA 2026: The Shocks, Surprises and Frauds of the AMVCA12 Nominations

The AMVCAs have a long and well-documented habit of rewarding visibility over rigour. Films that…

KFCB
KFCB’s Notice and The Problem With The Film and Stage Plays Act

In Kenya, where press freedom is delicate, often contingent on political and economic conditions, the…

Jordy Sank
Joburg Film Festival 2026: Jordy Sank Reflects on Xenophobia, Social Justice, and Stylistic Choices In “Amazeze (Fleas)”

“The frightening thing is that it becomes very easy to crush a flea or to…

2026 iREP Film Festival
iREP Film Festival 2026: “Awon Boyz”, “No U-Turn”, “Awani”, “Double Minority”, “Afterlife” and “Isese” Reviews

Within the screening rooms, the festival explored Africa’s tense history, systemic drawbacks, and traditional spirituality.…

Sandulela Asanda
BFI Flare 2026: In Conversation With Sandulela Asanda, Director of “Black Burns Fast”

“I really wanted a view on queerness, especially in Africa, that is joyful and colourful,…

ghanaian film industry
Can GH¢20 Million Government Fund Transform The Ghanaian Film Industry?

As it stands, the Ghanaian government has not made clear how it intends to distribute…

spirituality
Nollywood and African Spirituality: The Demonisation of a Continent’s Tradition

The problem with Nollywood was never that it showed the difficult dimensions of traditional practice.…

Moges Ababu Belachew
Joburg Film Festival 2026: Moges Ababu Belachew Talks “Mother Country” and Ethiopia’s Fragile Socio-Political Landscape

“Anyone can make a film if they can afford it and cover the finances. It’s…

Onobiren
“Onobiren” Review: Laju Iren Spins a Faith-Based Tale of Female Resilience and Solidarity

Onobiren is an earnest story of women—women as friends and foes, women as problem-solvers and…

Muscle
Berlinale 2026: Karimah Ashaduʼs “Muscle” Turns the Black Male Body Into a Site of Witness

Muscle is the kind of film that earns its place not by being conventionally digestible…