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

by FE Team

The Lesotho filmmaker was speaking at a Q and A session after his new film “Ancestral Visions of the Future” …

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

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

by FE Team

The Lesotho filmmaker was speaking at a Q and A session after his new film “Ancestral Visions of the Future” …

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

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

by FE Team

The Lesotho filmmaker was speaking at a Q and A session after his new film “Ancestral Visions of the Future” …

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

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

by FE Team

The Lesotho filmmaker was speaking at a Q and A session after his new film “Ancestral Visions of the Future” …

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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