Joseph Jonathan

Jazz Infernal
Sundance 2026: “Jazz Infernal” Is a Sonic Portrait of Diaspora and Legacy

Jazz Infernal is a compact but resonant meditation on grief, migration, and the pressure to…

A Very Dirty Christmas
“A Very Dirty Christmas” Review: Religion and Nollywood’s Soft Censorship

The battle over A Very Dirty Christmas might seem small in the grand scheme of things,…

African films
25 African Films Turning 10 in 2026

Revisiting these 25 African films from 2016, now turning ten in 2026, offers a snapshot…

Colours of Fire
“Colours of Fire” and the Anxiety of Technical Progress

Colours of Fire is crowded with ideas: tribalism, fear-mongering, inherited violence, love as disruption, myth…

Behind The Scenes
“Behind The Scenes” and the Business of Being Funke Akindele

Until the economics of cinema-oriented Nollywood change, films like Behind The Scenes will continue to…

Afrocritik’s 20 Remarkable African Short Films of 2025
Afrocritik’s 20 Remarkable African Short Films of 2025

African filmmakers have continued to take advantage of the short film form, and the most…

Afrocritik’s 30 Remarkable African Feature Films of 2025
Afrocritik’s 30 Remarkable African Feature Films of 2025

This year, African filmmakers tested the boundaries of filmmaking, deepened the aesthetic and thematic language…

Colour Me True
“Colour Me True” Review: Toluwani Obayan Osibe’s Debut Reaches for Truth but Settles for Surface

What ultimately holds Colour Me True back is not a lack of ideas, but a…

Nome
ADIFF 2025: Sana Na N’Hada Examines the Cost of Freedom and the Weight of Memory in “Nome”

Nome is not just a historical film; it is a reckoning: one that insists African…

The Heart is a Muscle
“The Heart is a Muscle” Review: Imran Hamdulay’s Debut Feature Traces the Wounds We Inherit and the Ones We Try to Heal

The Heart is a Muscle is a film made with care—perhaps too much care in…