Film and TV

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…

visa denials
How Visa Denials Are Costing African Film Professionals More Than Just a Trip

Visa denials for African film professionals is not a bureaucratic inconvenience sitting at the edge…

Olive Nwosu
Berlinale 2026: In Conversation with Olive Nwosu, Writer-Director of “Lady”

“For me, it’s about making a body of work that is emotionally resonant and speaking…

Love and New Notes
“Love and New Notes” Review: Kayode Kasum’s So-Called Romantic Period Drama Confuses Ambition for Vision

Love and New Notes wants to be different. It wants to be bold. It wants…

Kissing
The Performance of Purity: Nollywood, Kissing and Nigeriaʼs Faux Conservatism

The outrage over kissing is not the expression of ancient tradition. It is the performance…