Frank Njugi

Sayari
“Sayari” Review: Omar Hamza’s Film Maps Love Across Kenya’s Social Terrain

Sayari’s accomplishment lies in its meaningful step toward grounding a Kenyan iteration of the romantic…

Victims of Madness 2.0
“Victims of Madness 2.0” Review: Wakadinali Chooses Refinement Over Reinvention

While each Wakadinali artiste performs within their domain of expertise, the absence of aesthetic progression…

Matabeleland
“Matabeleland” Review: Nyasha Kadandara’s Documentary Contends With Zimbabwe’s Troubled Past

Through the history of southwestern Zimbabwe, and the lives it has fractured, Matabeleland becomes a…

Nairobi LitFest
Nairobi LitFest 2025: NBO Explores The Countercurrents of Knowing

Held in Nairobi’s public libraries, Nairobi Litfest endeavours to imagine these spaces not just as…

Inside Job
“Inside Job” Review: Jacky Vike and Mammito Eunice Find Kenya’s Laugh Lines and Its Pain Points

The ability to toggle between levity and gravity lends Inside Job a rare authenticity: a…

Ngũgĩ wa Thiong’o
The Life and Political Imaginations of Ngũgĩ wa Thiong’o

Ngũgĩ wa Thiong’o passed away at the ripe age of 87 as a towering figure…

MTV Shuga Mashariki
“MTV Shuga Mashariki” Review: The New Shuga Iteration Has A Shiny Surface With A Hollow Core

MTV Shuga Mashariki risks reducing a once-revered production to a shadow of its former self,…

Ujana
“Ujana” Review: Frank Njugi’s Chapbook Is a Portrait of Youth, City, and Self

Ujana is not just about youth; it is youth. Restless, luminous, fragmented, and brimming with…

Over the Bridge
“Over the Bridge” Review: Tolu Ajayi’s Film Explores Nigeria’s Systematic Rot and the Lives It Unravels

Over the Bridge emerges as not just a critique of Nigeria’s systemic rot, but a…

Addiction
“Addiction” Review: Jay Melody Stakes His Claim in Bongo Flava’s Hall of Fame

Addiction stands as the clearest sign yet that Jay Melody is approaching that razor-thin line…