Oris Aigbokhaevbolo

Pilot episode of Kemi Adetiba’s over-soundtracked To Kill A Monkey is bloated but saved by Bucci Franklin’s charisma.

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

The Nigerian director hosted a private screening of her latest project, When Nigerian Happens, at her Lagos residence.

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.