Film Efiko | Nollywood/African Film News, Reviews, Interviews, Biz

News

“My Father’s Shadow” Is Going To South Korea’s Busan Film Festival

by FE Team

Asia’s biggest film festival is screening Nigeria’s history-making Cannes feature.

The 2025 Venice Film Festival Will Screen 4 Features And One Short Film From Africa

by FE Team

Singers Oiza x Meyi Make Nollywood Debut In “Say Who Die”

by FE Team

Yasir Faiz Made His Debut Short Film In The Wake Of The Sudanese Revolution

by Oris Aigbokhaevbolo

Locarno 2025 review: With “Nome”, Sana Na N’Hada Crafts A Fine Guinea Bissau Epic

by Oris Aigbokhaevbolo

Locarno 2025 Review: Mali’s Le Rêve de Dieu Succumbs To Amateurishness

by Oris Aigbokhaevbolo

Le Rêve de Dieu is hampered by clumsiness across acting, dialogue, and plotting.

Locarno 2025: At Open Doors Awards, Zimbabwe Wins Biggest Cash Prize, Nigeria Wins Most Prizes

by FE Team

The Open Doors section of the 2025 Locarno Film Festival has announced its winners from across the continent.

Locarno 2025: How A “Random Tweet” Took Blessing Uzzi To Switzerland

by Oris Aigbokhaevbolo

Nigerian producer Blessing Uzzi talks about meeting director Dika Ofoma and their 2025 Locarno Open Doors project, Kachifo.

News

“My Father’s Shadow” Is Going To South Korea’s Busan Film Festival

by FE Team

Asia’s biggest film festival is screening Nigeria’s history-making Cannes feature.

The 2025 Venice Film Festival Will Screen 4 Features And One Short Film From Africa

by FE Team

Singers Oiza x Meyi Make Nollywood Debut In “Say Who Die”

by FE Team

Yasir Faiz Made His Debut Short Film In The Wake Of The Sudanese Revolution

by Oris Aigbokhaevbolo

Locarno 2025 review: With “Nome”, Sana Na N’Hada Crafts A Fine Guinea Bissau Epic

by Oris Aigbokhaevbolo

Locarno 2025 Review: Mali’s Le Rêve de Dieu Succumbs To Amateurishness

by Oris Aigbokhaevbolo

Le Rêve de Dieu is hampered by clumsiness across acting, dialogue, and plotting.

Locarno 2025: At Open Doors Awards, Zimbabwe Wins Biggest Cash Prize, Nigeria Wins Most Prizes

by FE Team

The Open Doors section of the 2025 Locarno Film Festival has announced its winners from across the continent.

Locarno 2025: How A “Random Tweet” Took Blessing Uzzi To Switzerland

by Oris Aigbokhaevbolo

Nigerian producer Blessing Uzzi talks about meeting director Dika Ofoma and their 2025 Locarno Open Doors project, Kachifo.

Locarno 2025 Review: Mali’s Le Rêve de Dieu Succumbs To Amateurishness

by Oris Aigbokhaevbolo

Le Rêve de Dieu is hampered by clumsiness across acting, dialogue, and plotting.

Locarno 2025: At Open Doors Awards, Zimbabwe Wins Biggest Cash Prize, Nigeria Wins Most Prizes

by FE Team

The Open Doors section of the 2025 Locarno Film Festival has announced its winners from across the continent.

Locarno 2025: How A “Random Tweet” Took Blessing Uzzi To Switzerland

by Oris Aigbokhaevbolo

Nigerian producer Blessing Uzzi talks about meeting director Dika Ofoma and their 2025 Locarno Open Doors project, Kachifo.

News

“My Father’s Shadow” Is Going To South Korea’s Busan Film Festival

by FE Team

Asia’s biggest film festival is screening Nigeria’s history-making Cannes feature.

The 2025 Venice Film Festival Will Screen 4 Features And One Short Film From Africa

by FE Team

Singers Oiza x Meyi Make Nollywood Debut In “Say Who Die”

by FE Team

Yasir Faiz Made His Debut Short Film In The Wake Of The Sudanese Revolution

by Oris Aigbokhaevbolo

Locarno 2025 review: With “Nome”, Sana Na N’Hada Crafts A Fine Guinea Bissau Epic

by Oris Aigbokhaevbolo

Locarno 2025 Review: Mali’s Le Rêve de Dieu Succumbs To Amateurishness

by Oris Aigbokhaevbolo

Le Rêve de Dieu is hampered by clumsiness across acting, dialogue, and plotting.

Locarno 2025: At Open Doors Awards, Zimbabwe Wins Biggest Cash Prize, Nigeria Wins Most Prizes

by FE Team

The Open Doors section of the 2025 Locarno Film Festival has announced its winners from across the continent.

Locarno 2025: How A “Random Tweet” Took Blessing Uzzi To Switzerland

by Oris Aigbokhaevbolo

Nigerian producer Blessing Uzzi talks about meeting director Dika Ofoma and their 2025 Locarno Open Doors project, Kachifo.

Locarno 2025 Review: Mali’s Le Rêve de Dieu Succumbs To Amateurishness

by Oris Aigbokhaevbolo

Le Rêve de Dieu is hampered by clumsiness across acting, dialogue, and plotting.

Locarno 2025: At Open Doors Awards, Zimbabwe Wins Biggest Cash Prize, Nigeria Wins Most Prizes

by FE Team

The Open Doors section of the 2025 Locarno Film Festival has announced its winners from across the continent.

Locarno 2025: How A “Random Tweet” Took Blessing Uzzi To Switzerland

by Oris Aigbokhaevbolo

Nigerian producer Blessing Uzzi talks about meeting director Dika Ofoma and their 2025 Locarno Open Doors project, Kachifo.

Columns

Dear Film Producers And Investors, African Cinema Does Not Need Squid Game

Award-winning Rwandan director Mutiganda Wa Nkunda urges African cinema financiers …

The Night Nollywood’s First Generation Celebrated Francis Onwochei

At a recent party in Lagos, Nollywood’s pioneering generation gathered …

Dele Doherty’s “Landline” And The Stupidity Of Nollywood’s High-Concept Movies

Landline, the latest time-loop tale from Nollywood, is another exercise in the tradition’s storytelling problem.

2025 AMVCA Nominations: 13 Hits And Misses

The 2025 AMVCA nominations had nominees to cheer for, some to wonder about, and one …

Mutiganda Wa Nkunda: What Rwanda’s Growing Film Industry Needs

Rwandan director writes about his country’s growing film industry and what it needs to get …

Ana Camila Esteves: FESPACO Needs To Live Up To Its Name

First and foremost: FESPACO cannot remain an exclusively French-speaking festival. It simply cannot be that …

African Film Festivals Need Better Selections And Other Lessons From Cannes

Ahead of the 2025 Cannes Film Festival, Oris Aigbokhaevbolo offers a few lessons for African …

The Success of Love In Every Word As A Nollywood Allegory

What “Love In Every Word”, produced by Omoni Oboli and starring Uzor Arukwe and BamBam, …

Columns

Dear Film Producers And Investors, African Cinema Does Not Need Squid Game

Award-winning Rwandan director Mutiganda Wa Nkunda urges African cinema financiers to reconsider chasing trends.

The Night Nollywood’s First Generation Celebrated Francis Onwochei

At a recent party in Lagos, Nollywood’s pioneering generation gathered to celebrate the birthday and published memoirs of one of their own.

Dele Doherty’s “Landline” And The Stupidity Of Nollywood’s High-Concept Movies

Landline, the latest time-loop tale from Nollywood, is another exercise in the tradition’s storytelling problem.

2025 AMVCA Nominations: 13 Hits And Misses

The 2025 AMVCA nominations had nominees to cheer for, some to wonder about, and one to leave you torn between cheer and despair.

Mutiganda Wa Nkunda: What Rwanda’s Growing Film Industry Needs

Rwandan director writes about his country’s growing film industry and what it needs to get even better.

Ana Camila Esteves: FESPACO Needs To Live Up To Its Name

First and foremost: FESPACO cannot remain an exclusively French-speaking festival. It simply cannot be that in 2025 and in the future.

African Film Festivals Need Better Selections And Other Lessons From Cannes

Ahead of the 2025 Cannes Film Festival, Oris Aigbokhaevbolo offers a few lessons for African cinema based on observations from the last edition.

The Success of Love In Every Word As A Nollywood Allegory

What “Love In Every Word”, produced by Omoni Oboli and starring Uzor Arukwe and BamBam, says about success in Nollywood

Reviews

Locarno 2025 review: With “Nome”, Sana Na N’Hada Crafts A Fine Guinea Bissau Epic

In Nome, Sana Na N’Hada’s life and times of his eponymous hero is carried along …

Locarno 2025 Review: Mali’s Le Rêve de Dieu Succumbs To Amateurishness

Le Rêve de Dieu is hampered by clumsiness across acting, dialogue, and plotting.

Ancestral Visions Of the Future Review: An African Master Goes Major On Minor Work

Ancestral Visions of the Future marries prose to poetic visuals in frustrating and interesting ways.

“Iyanu” Review: Why So Little Cultural Impact For Cartoon Network Animation?

Iyanu is a solid international debut for Nigerian animation, but the Cartoon Network show flattens …

“Ms. Kanyin” Review: Temi Otedola Shows Ability But This Lady Koi-Koi Doesn’t Say Much

Ms. Kanyin is a relatively decent supernatural thriller. But Nollywood’s search for a great Lady …

“Red Circle” Review: Nollywood Crime Thriller Is A Letdown

With vapid sex scenes and generic power plays, Akay Mason’s Red Circle proves more underwhelming …

“The Fire And The Moth” Review: Taiwo Egunjobi Has Crafted A Brutal Beauty

Taiwo Egunjobi’s The Fire and the Moth shows that a unique vision in Nollywood isn’t …

“The Party” Review: Nollywood Whodunit Gets Everything But The Mystery Right

Yemi “Filmboy” Morafa’s anticipated thriller scores high in many departments but falls short in the …

Reviews

Locarno 2025 review: With “Nome”, Sana Na N’Hada Crafts A Fine Guinea Bissau Epic

In Nome, Sana Na N’Hada’s life and times of his eponymous hero is carried along by the magnificent performance of Marcelino Antonio Ingira.

Locarno 2025 Review: Mali’s Le Rêve de Dieu Succumbs To Amateurishness

Le Rêve de Dieu is hampered by clumsiness across acting, dialogue, and plotting.

Ancestral Visions Of the Future Review: An African Master Goes Major On Minor Work

Ancestral Visions of the Future marries prose to poetic visuals in frustrating and interesting ways.

“Iyanu” Review: Why So Little Cultural Impact For Cartoon Network Animation?

Iyanu is a solid international debut for Nigerian animation, but the Cartoon Network show flattens the distinctiveness of Nigerian culture.

“Ms. Kanyin” Review: Temi Otedola Shows Ability But This Lady Koi-Koi Doesn’t Say Much

Ms. Kanyin is a relatively decent supernatural thriller. But Nollywood’s search for a great Lady Koi-Koi continues.

“Red Circle” Review: Nollywood Crime Thriller Is A Letdown

With vapid sex scenes and generic power plays, Akay Mason’s Red Circle proves more underwhelming than groundbreaking.

“The Fire And The Moth” Review: Taiwo Egunjobi Has Crafted A Brutal Beauty

Taiwo Egunjobi’s The Fire and the Moth shows that a unique vision in Nollywood isn’t a death sentence.

“The Party” Review: Nollywood Whodunit Gets Everything But The Mystery Right

Yemi “Filmboy” Morafa’s anticipated thriller scores high in many departments but falls short in the central one.

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