Oris Aigbokhaevbolo

The filmmakers behind Nigeria’s Cannes-selected film, My Father’s Shadow, also spoke about challenges during production.

Looking back over three decades, the esteemed SA producer discusses issues in the filmmaking business, including African cinema’s “branding problem”.

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

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

With Christmas In Lagos, Jade Osiberu, a major Nollywood talent, has made a minor Nollywood film.

With “A Ghetto Love Story”, producer Basketmouth and director Daniel Oriahi have made a superb Nollywood film about Nigerian love and poverty.

The identity of the killer in Mercy Aigbe’s second production is too obvious for the film to be a decent whodunit.

Funke Akindele’s latest billion naira-earner feels like a collection of skits for YouTube consumption.

Orwa Nyrabia, outgoing artistic director at IDFA, speaks about African documentaries at the festival and on the Israel/Palestine controversy.

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