Adedamola Jones Adedayo

Woman Land
HollyShorts Film Festival 2026: “Woman Land” and “The Unnamed” Reflect on Female Identity and Vulnerability

Woman Land and The Unnamed films focus on women as central figures in their own…

Alechenu
“Alechenu” Review: A Potent Social Commentary Undone by Its Untapped Narrative Potential

Alechenu does well in its pursuit of social relevance, but the narrative is dampened by…

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…

African cinema
African Cinema and Its Treaty-Based Co-Production Network

Despite the existence of more scattered film partnerships and informal collaborations across the continent, African…

Zipporah Nyaruri
In Conversation with Zipporah Nyaruri on the Road Behind “Truck Mama”

“I would wish that people have appreciation for women doing these kinds of jobs or…

Crocodile
Tribeca Festival 2026: Pietra Brettkelly and The Critics’ “Crocodile” Turns a Nigerian Filmmaking Collective Into A Story of Hope

By amplifying and aestheticising the lives of ordinary people in society, Crocodile becomes a model…

African Filmmaking
African Filmmaking at the Crossroads of Oscars Reform and AI Ethics

For African cinema, the pathway expansion is a blessing in disguise at first glance. It…

The Return of Arinzo
“The Return of Arinzo” Mistakes Nostalgia for Necessity [A Review]

Beyond cheap thrills, The Return of Arinzo falls apart when treated as part of a…

Tiwa Medubi
Livespot360 MD, Tiwa Medubi Talks “Real Housewives of Lagos”, “LOL: Last One Laughing Naija” and the Business of Reality TV

“If we create something that’s authentically African, then there’s a bigger chance that someone will…